The goal of Matt Reeves' Batman was to create a sense that action could actually happen. "We don't have any sci-fi or fantasy elements to separate it from reality," said visual effects supervisor Dan Lemon, explaining that he needed as much cinematography as possible. Special effects supervisor Dominic Toohey and his team even created four versions of the Batmobile for different uses. Lehmann says that in the ski jump (pictured right), which occurs when Batman chases a penguin, his team used a cut-up machine with extra features. "Eventually they were able to adjust it so the car would go up about 12 feet," he added, "and it flew about a hundred feet before hitting the ground again. And at the same time, I was able to guide him through the wall of fire.
The live action was filmed by a camera mounted on the penguin's car. In post, Weta FX added more explosions and vehicle adjustments. And since the chase takes place during a thunderstorm, the team also changed the road surface to make it even. "We wanted to capture all the excitement and spectacle you expect from a Batman movie, but we also wanted to make every moment believable," sums up Lehman.
"Not only did we have to seamlessly integrate what we shot with the visuals, we had to make sure everything was done historically," said Frank Petzold, production visual effects supervisor on Netflix's German-language anti-war epic based on the classic series. . A novel by Erich Maria Remarque. “Our approach is not to yell at him; It can't override the story or the acting," he added.
Petzold says his team's primary role was to focus on the details and, of course, pretend they didn't do anything. "Our goal was to make the images invisible to the viewer so they wouldn't even realize they were looking at something that was made a hundred years later," he says. This included researching and developing what were new weapons and tanks.
Battlefield had a production team set up in an abandoned airfield near Prague, but for these shots, and especially the wide shots, the visual effects team was tasked with digital enhancement, including terrain for supporting history, smoke, and more. Atmospheric elements. Also key was the replacement of the sky with the stability of the weather.
Petzold notes that they produced several smoke "characters" — "big ones, little ones," he elaborates. "And we use that smoke not only to guide the audience, but also to connect the episodes."
In this still from Marvel's Black Panther sequel Senah, Huerta Mejia plays Namor, the king of the underwater men of Tolacan. To do this, cinematographer Ott Durald Arkapov filmed the actor's performance while submerged in a 20-foot tub with a throne created by the design department led by Hanna Bichler. The scene was replayed without water, in a dry environment that was shot on a different set and formed the basis of a shot that appears in the film.
Visual effects supervisor Jeffrey Bauman explained that Weta FX used an underwater reference to complete the shot. "They had to add water back in," Bauman says, "as well as small particles of water and the back of it."
He also said that the filmmakers also used underwater shots in some scenes. "We had to match them," Bauman notes. "[We had to support] Ryan [Coogler] and the rest of the filmmakers with the aesthetic and the look and then try to keep it right."
This shot has some serious challenges that actually allow Spider-Man (Jack Champion) to pull Quaritch (Stephen Lang) out of the ocean in his navel form. The work began with a performance captured in a life-size tank capable of simulating breaking waves on the Lightstorm stage in Los Angeles. Champion's performance was then filmed on another stage in New Zealand. "Jack's pulling the guy in blue, the tallest guy we could find — he was about 2 feet tall, which is still 2 feet short [for a Na'vi]," explained Weta's visual effects supervisor Eric Sindon. Forex "We attached a strap to his back so Jack could hold him to mimic Quaritch's back strap where he pulled him out of the water."
Weta FX's real-time 3D compositing software helped director James Cameron render the shot before sending all the elements to Weta, where artists began combining live-action elements with digital effects to create the final shot. "It allows us to very easily transition this living water into CGI water and expand rocks and things like that," Sindon said. Above the belt, he added, they used live footage from the champion. "At the beginning of the shot where he's in the water and splashing, we actually replaced his feet with [CGI feet], so we have water splashing on our CG feet," he explains. "There's a wave where we touch Jack's real feet because we really wanted the water to come out of his thong and feet [to] feel the interaction with the water."
The filmmakers behind the box office giant Paramount wanted to give a visual feel to Top Gun: Maverick's flight design based on real aerial photography. But there were planes they couldn't use in filming, such as the Grumman F-14 Tomcat that flew over enemy airfields during the climactic mission of Tom Cruise's Maverick and Miles Teller's Rooster. This model was retired from the Navy in 2006.
In this case, the planes used during filming were replaced or upgraded with CG models. In the example above, the visual effects team started with live shots of a pair of F-18s. The visual effects team then digitally replaced the F-14 with CGI and a fifth generation enemy fighter. "We shot the plane digitally, but we used it for motion capture, so to speak, as well as to highlight what the actual plane was doing," explained visual effects supervisor Ryan Tadhope. "Then we put our digital plane in that position and animate it to do the same thing." Tadhope said that the film featured a total of 2,400 VFX shots created by VFX Systems (now part of Framestore).
This story first appeared in the February issue of The Hollywood Reporter. To receive the magazine, click here to subscribe.
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