LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

FuseFX & mocha: VFX for Walking Dead, Empire, AHS & More

COW Library : Art of the Edit : Imagineer Systems : FuseFX & mocha: VFX for Walking Dead, Empire, AHS & More
CreativeCOW presents FuseFX & mocha: VFX for Walking Dead, Empire, AHS & More -- Art of the Edit Feature

FuseFX is an award-winning visual effect studio with a flagship facility in Los Angeles and outposts in New York and Vancouver. The 100+ member team juggles over 30 television episodics a season, while also working on features and commercials. Current credits include: FOX's Empire, ABC's Agents of SHIELD, AMC's The Walking Dead, SyFy's The Magicians, CBS's Zoo, and FX's American Horror Story.



CGI & VFX Showreels HD: "Studio Show Reel" - by FuseFX



Imagineer Systems recently sat down with Brigitte Bourque, Digital Effects Supervisor and a 20 year industry vet, to learn more about the work FuseFX does and how mocha fits into their pipeline.

Imagineer Systems: What's your role at FuseFX?

Brigitte BourqueBrigitte: As Effects Supervisor, my role is to ensure my shows are organized to maximize time and quality of work for our clients. I work closely with producers to manage and plan out courses of action depending on what the work requires to hit our deadlines. That can take a lot of planning, foresight and sometimes preemptive measures if things don't go as smoothly as you'd hoped.


You work on both television series and films. What's the biggest difference between the two?

There are interesting differences and similarities between working in film versus television. The two outlets are merging in the level of difficulty and time schedules. Television has become very sophisticated over the past decade. Many companies have gotten into the field of creating original content: from the cable channels that we are familiar with, to newer players such as Netflix and Amazon.



American Horror Story


The shows are high quality and are gaining huge viewership. The problem for us is that they have tight turnarounds while demanding this higher level production value. At the same time, I've noticed the film work we do now demands a turnaround that you might typically associate with a television schedule -- with the added burden of having more temp screenings. One thing both television and feature share is that our clients expect us to provide top value for their budgets. That is what FuseFX excels at.


AmericanHorror_BulletFuse


How does mocha come into play with time constraints?

Since time is of the essence in all of our jobs, mocha is an essential tool in our production pipeline. The compositor is the steward of the work we are entrusted with. That means getting the work out on time and on budget. Every one of our compositors uses mocha Pro to help make that happen.

We are constantly transferring data between mocha and Nuke -- to the point where it is hard imagining having one without the other. Despite the difference in their effects, the similarity of shows like Zoo, The Walking Dead, and Empire, is time. Having tools like mocha working in tandem with Nuke pays dividends in time.  This is of enormous benefit to both ourselves and our clients.



Empire is filmed in Chicago, although it is set in New York.


FuseFX works on a wide variety of TV series. What areas do you commonly use mocha for?

We rely on mocha Pro for shows which contain mostly "invisible" effects such as green screen background replacement and monitor inserts where you hope the end result is one that the viewer doesn't even notice has been done. On shows such as Empire, some of the VFX work is just as demanding as our other shows where the effects are front and center such as The Walking Dead. You want everyone to assume Lucious is standing fifty floors over New York City; that they are at the New York Stock Exchange; that all those flashy background monitors just happened to be playing perfectly in sync; and that there really were fifty thousand people at the concert.


EmpireFuse

On Black Sails I used mocha to do everything from tracking in double-imaged spyglass reflections to extensively modifying moving shorelines and tracking in backgrounds complete with multiple levels of parallax. My team does a lot of driving comps. mocha lets us stabilize and track in backgrounds quickly. We also use it to corner-pin in dirt passes, wiper marks and reflections to the windshields. mocha gives us, and our clients, a great deal of control over the final look of the shots.

Of course, they aren't all "invisible effects". We are responsible for a lot of "blood effects" since dressing characters with practical blood and gore is messy and time consuming to do on set. For instance, I apply bullet wounds which can move with the organic surfaces of the unfortunate gunshot victims. The ability to seamlessly match-move these onto the characters is crucial to achieving these very graphic and gory story points.


In The Walking Dead, Season 6, Glenn and Nicholas are surrounded by Walkers.


On shows like Zoo I assume most viewers know the birds aren't really attacking innocent bystanders and that actors aren't really sacrificed by elephants.


Speaking of Zoo...the second season is airing on CBS right now. Any examples of how mocha is used?



Zoo - Season 2 (Preview) The Threat Has Evolved


On a recent episode of Zoo our excellent group of cg artists created an elephant that gives chase to our shows' protagonists. As the deadline was closing in, there was a request to change the timing of tranquilizing darts hitting the charging elephant. Using mocha, this last minute change was a simple fix. Tracking the undulating surface of a running elephant, I was able to track on patches of skin. We could change the timing without sending the entire shot back to animation and lighting. Instead of adding an extra day to the schedule, we did it in 20 minutes! mocha saved us from going over budget and saved the unwitting client a potential overage. This simple example is played out on all our shows.


Learn more about FuseFX.

Stay tuned for part 2 of our feature on FuseFX - an interview with Eric Hayden, Visual Effects & Compositing Supervisor.

Download a free 14 day trial of mocha.




Related Articles / Tutorials:
Art of the Edit
The Science of Editing

The Science of Editing

Sven Pape, aka @ThisGuyEdits, joins Dr. Karen Pearlman -- former President of the Australian Screen Editors Guild and a three-time nominee for Best Editing at the Australian Screen Editors Guild Annual Awards -- for a provocative look at "Editor's Thinking," a cognitive skill set that you can use to improve your screenplay before you start principal photography of your film.


Sven Pape
Art of the Edit
Film Editing Tutorial: How To Crush The First Notes

Film Editing Tutorial: How To Crush The First Notes

It's happened to you. The first cut sounds noisy, has compression artifacts, actors aren't giving their best performances -- and the director has notes about all this and more. Follow along as Sven Pape from "This Guy Edits" works through some of these very issues on the film he's working on, with tips on how deliver exactly what YOUR director is looking for.

Tutorial
Sven Pape
Art of the Edit
Editing Movie Trailers with Patricio Hoter

Editing Movie Trailers with Patricio Hoter

More and more, films that are currently in production are working alongside with their marketing teams to establish a strategy months in advance of its release. That means that there’s more time to explore several options when crafting a trailer, but the workload also becomes heavier, and the stakes become higher. Avid Media Composer editors Christian Jhonson and Patricio Hoter (The Jungle Book, The Last Witch Hunter, Green Room, Titanic 3D, and more) explore this evolving artform.

Tutorial
Christian Jhonson
Art of the Edit
5 Tips for Finding the Right Edit Point

5 Tips for Finding the Right Edit Point

Accomplished editors tend to point to instinct and experience when it comes to the exact edit point. Here are 5 tips from veteran editor Sven Pape of "This Guy Edits" that may help you get there. Some editors say that great editing is invisible. So is the right frame the one we don't notice?

Tutorial
Sven Pape
Art of the Edit
The Surprising Upside Of Procrastination In Film Editing

The Surprising Upside Of Procrastination In Film Editing

What if you wouldn't have to stop procrastinating? Sven Pape of "This Guy Edits" demonstrates how to use procrastination to achieve some of your best film editing work. "Why do I procrastinate?" asks Sven, "I give you Aaron Sorkin who has one of the best procrastination quotes: "You call it procrastination I call it thinking.""

Tutorial
Sven Pape
Art of the Edit
The Secret World of Foley, One of Cinema's Most Magical Arts

The Secret World of Foley, One of Cinema's Most Magical Arts

The Secret World of Foley is an evocative, wordless insight into one of the cinema’s most magical arts: the creative addition of synchronized sound effects in post known as Foley. This short film is also one of the most beautiful things you've seen in a long time. We highly recommend it to any fans of movies, sound, and the inspiration of watching true artists at work.

Feature
Tim Wilson
Art of the Edit
Editing: The Kuleshov Effect Put to the Test

Editing: The Kuleshov Effect Put to the Test

One of the most powerful discoveries in the early days of editing became known as The Kuleshov Effect: the same piece of footage means different things depending on the shots that surround it. It is a mental phenomenon by which the audience derives more meaning from the interaction of two sequential shots than from a single shot in isolation. One hundred years later, Sven Pape of This Guy Edits puts this venerable axiom to the test. Does this fundamental principle of modern editing still hold up? Prepare to be amazed.

Tutorial
Sven Pape
Art of the Edit
Game of Thrones: Battle of the Bastards VFX

Game of Thrones: Battle of the Bastards VFX

Deluxe Entertainment Services Group (Deluxe) has shared with us that its Australian animation and visual effects studio Iloura delivered a significant suite of work for the recent "Battle of the Bastards" episode of HBO's tentpole series Game of Thrones. Working on the epic battle sequence for the Season 6, Episode 9 crescendo, Iloura's team of visual artists used a mix of VFX and hand-crafted animation techniques to realize the vision for the bloody showdown. As a bonus, we include HBO's production featurette on staging and shooting Game of Thrones' most epic scene yet.

Feature
Iloura VFX
Art of the Edit
How To Become A (Wanted) Film Editor

How To Become A (Wanted) Film Editor

What does it take to master the art of film editing? Sven Pape, host of This Guy Edits, shares 7 recommendations that may just turn you into a storyteller in demand. Or more specifically, he says, these are his thoughts on how to become what you love, whether directing, screenwriting, shooting, acting: anything that you have a passion for.

Tutorial
Sven Pape
Art of the Edit
Gravity's Mark Sanger: Cut & Talk with Oscar-Winning Editor

Gravity's Mark Sanger: Cut & Talk with Oscar-Winning Editor

Academy Award-winning editor Mark Sanger stopped his usual activities to talk about working with director Alfonso Cuarón and his amazing work on Gravity, what to cut out of the film, and what to cut out of life with his guiding principle: make yourself invaluable, but never at the expense of others.

Feature, People / Interview
Mark Sanger and Christian Jhonson
MORE
© 2016 CreativeCOW.net All Rights Reserved
[TOP]