The five 2023 Oscar nominees for Best Visual Effects did not wait until post-production began on their computers. Each of them was directly involved before, during and after production, with boots on the ground and umbrellas in the air.
"All Quiet on the Western Front"
Visual effects supervisor Frank Petzold worked to create the most organic version of All Quiet on the Western Front. On the set, he will see the sights, sounds, feelings and smells of this brutal war.
"All snow, frost, knee-deep. We were there too. They're part of the filmmaking process and don't only give footage at the beginning of post-production. Put your soul into every picture with effects.
“I like to improvise. We did a 3D scan of the entire battlefield and everything else. But on set, you guys are like, “Give me some cameras, give me stuntmen, and… blow something up with the guys [handy effects].
What most viewers see in the film is the inner frenzy of the action scenes.
“I shot with six different cameras. Many soldiers are running. Camera at different speeds, just collect items. In another project, you said, "Let's simulate this on a computer." I don't want. We added fog, we don't have planes. We had a tank that could walk several meters.
"Avatar. Waterway"
The sequel to James Cameron's Avatar is less a fusion than a new entity with DNA in every aspect of concept, design, cinematography, sound, costumes, acting and visuals.
“We show up very early because we help create the characters, we help create the world,” says visual effects supervisor Joe Letteri. Aside from the fantastic setting and action, the film's ultimate success will be determined by audiences forgetting they're looking at 8-foot blue aliens and watching the actors act instead.
“This new facial system is very important,” Letteri said. “It allowed us to see what the face was doing [inside] so we could better understand what the actors were doing. We built a neural network that could parse the representation. It was a real breakthrough. the other side of your face is moving, they are all connected [below].”
They scanned the actors for facial expressions and vocal exercises. Cameron sits with the actors and watches all of their performances with eight cameras pointed at them. The resulting data—"thousands of frames that we uploaded into the system," says Letteri—set off a process that translated human actors into Na'vi characters.
“There is a shot of Kairi in the rain. This is Sigourney Weaver, who plays a 14-year-old girl; It shows how this new system can express an actor's performance through any character they want, even if they're not who they currently are. . We live and die big plans.
"Batman"
Visual effects supervisor Dan Lemon said Matt Reeves and company. wanted to make Batman "not so much a superhero movie, but a gritty noir detective based on reality".
To bring to life Gotham City's surreal layout and Batman's incredible ability to jump from a skyscraper to safety, the team used LED volume and soundstages with giant video screens. They filmed the actors against a virtual cityscape of Gotham projected onto a screen instead of a green screen. Thus, instead of the typical cinema light, the actors were illuminated by a virtual sunset and urban environment.
Lemon says, “You see the reflection of the sunset in the Batman hat and Selina Kyle dress. The sunset has different colors. You see him in their suits, orange and blue, all reflective, puddles on the floor."
The LED pen also helped Batman escape the police headquarters.
In an episode of Wingsuit, Matt said, "I want people to think that Robert Pattinson actually jumped off a building and landed without a parachute."
“We watched sports videos, YouTube stuff and Red Bull stuff. He wanted to emulate this style of photography with cameras attached to their bodies. cinema,” Lemon said.
“We built a wind tunnel with LED panels. We hung a professional wingsuit player and Rob Pattinson on harnesses, hung them in a wind tunnel, and blew a lot of air through the suit. sense of reality
"Black Panther. Wakanda Forever"
Visual effects supervisor Jeffrey Bauman said that the most challenging part of Black Panther: Wakanda Forever was Talokan's underwater world. However, " the biggest fear was that people would like Namor [the ruler of Taloqan, played by Tenoch Huerta Mejia]. Namor was reinvented many times, but overall he was an ass."
It was added that, like in the comics, Namor's ability to fly depends on the small wings on his ankles.
How can you not be stupid? Bowman asks:
Wakanda's manufacturing department conducted numerous underwater tests. They found that the character's grass skirt was playing hide-and-seek in the water. They learned that hair and clothes often behave inappropriately, so some of the actors wore hats and added their beautiful locks to the post, while others wore costumes. Bauman's team added a digital overlay. After all, they shot most of the underwater filming in the wet shooting mode (actually out of the water), often reshooting already filmed scenes.
“The challenge was to smoothly transition from one to the other,” he says. The effort was aided by what the crew and cast had come to know about the VJ on set.
For Namor's move, they studied athletes including triple jumper and all-time sprinter Barry Sanders. But when it comes to those winged knuckles...
“The first step,” Bauman laughs, “was to animate these mini helicopters on the CGI ankles to see how they would move.”
Somehow it all worked out. Namor's flight becomes fantastic, and Huerta Mejia's character becomes completely... cute.
"Best shooter". one"
The Top Gun Maverick flies so high because it easily gives the illusion that the characters are actually doing these crazy feats in the sky.
“It all became too dangerous to be practical because so much was practical, so much was real,” said visual effects supervisor Ryan Tudhope.
Tadhop's team adds or removes aircraft as needed, clearing some aircraft for conversion into others and creating conditions such as expanding enemy bases.
Then comes the culmination of the confrontation between the first F-14 jet of the movie era and the new "fifth generation" fighter. Much fuss was raised about the cameras the filmmakers worked with the Navy to fit into the cockpit of the modern F/A-18 aircraft most commonly seen in the film.
Salon F-14 is small. These cameras are not comfortable.
To capture an image of the film and continue with these cameras, “there was no point in doing this, except that [the actors] were in F/A-18...F-14] Tomcat.
“There are moments when you look outside the Maverick into the cockpit. It was an F/A-18, but we completely replaced it, so you have a Tomcat pilot. Even the small tracking screen runs at eight frames per second or more. .
"So the visuals play a secondary role, and that's what we wanted in this film."
This story originally appeared in the Los Angeles Times.
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