Todd McCarthy, veteran film critic and historian, in his review of director Jon Favreau's new, stunning adaptation of Rudyard Kipling's The Jungle Book declared, "...the visual effects team led by Robert Legato and (MPC's) Adam Valdez has both created sumptuous settings that look as lifelike as any CGI ever presented in a studio feature and integrated both humans and animal characters in them in seamless ways."
To achieve this cinematic marvel, Favreau, working with cinematographer Bill Pope, ASC, production-side visual effects supervisor Rob Legato, and many others, led an effort that was acknowledged by Disney Studio's President of Theatrical Productions, Sean Bailey that resulted in "one of the most technologically advanced movies ever made." Legato spearheaded the "virtual production" pipeline employed by the production, based on his previous work on The Aviator and Avatar.
Technicolor's global reach proved central for a project of this scope because the company is one of the only entities in the world that could provide the precise combination of services in different categories that the project needed. The sophisticated technological infrastructure and flexibility to rapidly upgrade and alter pipelines as needed, the award-winning artists with pre-existing relationships with these particular filmmakers, and the well-honed global collaboration techniques allowed Technicolor's various entities and artists to all share data and communicate in real-time with filmmakers spread out across two continents.
MPC (one of Technicolor's theatrical visual effects studios) was asked to virtually create the entire cast of the movie outside of Mowgli, the film's protagonist, and the film's digital primates--more than 50 different species, and many as leading or supporting characters, with crucial roles in Favreau's narrative.
The highly sophisticated production and finishing processes involved:
Pre-visualizing every shot in the movie to create a roadmap: MPC used a combination of digital filmmaking, motion-capture, and video-game production tools to allow the filmmakers to view in real-time virtual sets and elements to be composited later.
Next, they filmed a single human actor, Neel Sethi, who plays Mowgli, in native stereoscopic 3-D on a series of sets, pieces of sets, and on green-screen and motion-capture stages. The ultimate goal was to combine his image and movement seamlessly with sophisticated, photo-real, character animation and background animated elements producing what eventually evolved into a stunningly photo-real "animated" movie.
Visual effects supervisor Rob Legato on teaming up with Technicolor and MPC for the film.
"People have done some of this kind of work for years," noted multiple Oscar-winner Rob Legato, "but The Jungle Book allowed MPC, which previously had not been known for focusing on animals, to show what they are capable of in terms of photo-real work, and they upped their game. Now, they are at the highest level for this kind of thing."
"In fact, there were a few shots they sent me that I found it hard to believe there was no [live-action photography] in the background shot. It was magnificent, and it fooled me, even though I knew what they were doing. To me, that is a whole new level of realism."
Meanwhile, Technicolor's color science and color grading work, and finishing services, were central to pulling off The Jungle Book illusion. Technicolor's team of finishing artists, including Steve Scott, Mike Sowa and Charles Bunnag, used Autodesk's Lustre Premium 2016 color-grading system for the project. While Scott personally graded the 2D version of the movie, Sowa collaborated with him to seamlessly grade and incorporate additional visual effects into each reel. Sowa was also responsible for grading the work for the various 3D and large format versions of the film, including IMAX, Barco, Cinemark, and Dolby, etc.
These EDR versions of the movie were necessitated to meet the unique needs of those specific theatrical formats. Additional finishing work included Technicolor senior conform editor Bob Schneider's efforts, while the company's Marketing Services department deployed colorist Adam Nazarenko and producer Ellen Wang to ensure that four domestic and fourteen international trailers were presented correctly, along with a Super Bowl spot and a theme park piece.
In a recent interview, Legato sang Technicolor's praises, "Technicolor has (over the years) changed pretty much as I thought they would, which is to stay at the forefront of whatever technology and absorbing it because I think that's the nature of the company itself."
While speaking of the myriad of new delivery projection standards that have come on-line over recent months, Legato noted, "Technicolor itself is a technical innovation of how things are normally done and they're always at the forefront...always wanting to embrace something that hasn't been done before. And now working with them again on this particular film they were the same way. There was never any hesitation."
Producer Joel Silver and Director X called on VFX Legion to tackle 100+ shots designed to amp up the impact of the raw violence in Sony’s reboot of the iconic ‘70’s film. The reboot of ‘Superfly’ puts a modern, stylish spin on the original 1972 film about a Harlem drug dealer trying to score one last deal before getting out of ‘the game.’ Set in present-day Atlanta, the Mecca of today’s popping music scene, the action is driven by a hip-hop soundtrack curated by Future. The city’s distinctive style is the backdrop for a new generation of affluent, extravagant drug kingpins that takes violence to the extreme.
When Disney announced that they would be making a new Star Wars movie every year for at least 10 years I was both excited and a bit skeptical. In 2012 when Lucas sold his company to Disney for $4billion, he included his outlines of Episodes VII, VIII and IX. But Disney and Co. decided to discard these stories and start over, also discarding the extended universe of comics and books that millions of SW fans had grown to love. Adding JJ Abrams to the mix was icing on the cake for SW fans who have become critical of SW. But Lawrence Kasdan was the saving grace, who wrote a script for VII that the original actors could get behind. So, how much Star Wars is too much?
Seth Reed is the Emmy®-nominated production designer for the National Geographic miniseries The Long Road Home. Seth joins Go Creative Show host Ben Consoli to discuss the challenges and benefits of shooting at Fort Hood in Texas and how he created the biggest standing set in North America.
Remote post-production and visual effects studio VFX Legion has released its breakdown reel for the incendiary Hardcore Henry.
The reel reveals the work that went into the first-person perspective action film, from augmenting violence to stitching shots together into one continuous sequence.
VFX legend Steve Wright helped Italy's Sky 3D tackle an epic project, as Italian all-3D television station set out to present the city of Florence and the masterpieces of Renaissance art housed in the Uffizi Gallery in a spectacular stereoscopic 3D movie shown in 60 countries around the world. While the majority of the film was shot stereoscopically, Steve's challenge was to use Nuke to present some of the world's most precious artworks fully dimensionalized. Here's how he pulled it off.
As the first show to create a rabid, real-time internet fandom, devotion to "The X-Files" has been growing in intensity with each year since the original series finale, with a fanbase that is clever, thoughtful, and largely female. Not that there's any shortage of male X-Philes, but there's a generation of women who was inspired to technical careers by the Gillian Anderson's Dana Scully. Kylee Peña is among them, and additionally very specifically inspired by the production values of "The X-Files" to build a career in the technology of TV storytelling in particular. Here's Kylee's look at what it has meant to be a female fan of the art, technology, and empowerment of "The X-Files" in the 21st century.
Peter Doyle, Supervising Visual Colourist at Technicolor, shares details of his upward spiraling career. His deep technical knowledge allows for a perfect blend of creativity and productivity in equal measure. Here he talks about his career, his aspirations, and his involvement in productions right from the outset.
At the heart of Marvel's biggest Avengers movie yet lies their greatest threat yet: Ultron, a self-constructing robot intelligence bent on destroying all of humanity. Munich's boutique-scale Trixter Film was given the critical task of introducing this epic-scale character, which they undertook from concept art through design, mocap, animation, compositing, and output.
Award-winning VFX Company Joins UPP and Rodeo FX to Recapture the Legendary Walk Between the World Trade Center Towers. Lead VFX vendor Atomic Fiction needed a more efficient way to do the compute-intensive, and traditionally very expensive, processes of rendering. The company used their cloud-based software Conductor, which allows artists to offload the processing from their own computers and send it to the cloud. By the end of the project, Atomic Fiction had completed 9.1 million hours of processing in the cloud, which equates to over a millennium of processing time!
Jonathan Strange & Mr Norrell, the acclaimed bestselling epic novel of magical realism set 200 years ago, was adapted by the BBC to a 7-episode miniseries that was itself quite epic, with over 1000 effects shots handled by London's Milk VFX. Creative COW's Tim Wilson spoke with Milk CEO Will Cohen about his team's work on the series, starting with his own enthusiasm as a fan of the novel. To use that word once more, it's an epic conversation about adapting novels, carefully managing budgeted creativity, and collaboration. Books, televised cinematic storytelling, VFX, good conversation, and magic: if any of those is your cup of tea, you won't want to miss this.