Digital screen replacement vfx autodesk flame

We shouldnРІР‚в„ўt make people say, РІР‚ВWow, what neat visual effects!РІР‚в„ў Instead, they should say, РІР‚ВWait РІР‚вЂњ what visual effects?РІР‚в„ў Natural, believable effects help support this story. We keep things looking extremely realistic, even when the director is asking for more blood than a body can produce (laughs). People are shocked to hear that we delivered over 1000 shots in season one. What about your work might come as a surprise?Р”В«ryan: Probably the quantity of the work we do. 'We use our tools to keep things looking extremely realistic, even when the director is asking for more blood than a body can produce.' WeРІР‚в„ўve done our job when the end result looks amazing. Fewer VFX means a more realistic-looking result and a happier client. It sounds counterintuitive but it makes good business sense for us to advise against using VFX in every shot. That we get to see the scripts before they go out, that Karl is in the production meetings to offer a better way when it comes to saving money, or time, or headaches means everything. The best thing for us is the collaboration. Good relationships are critical to good VFX work then. It was a classic case of them saying, РІР‚ВHoly s-t, this is way too dangerous, can you help us out?РІР‚в„ў In the end, they made the fight look awesome and we made it look real. When it came time to shoot, even using the chain with a rubber piece at the end to be replaced later was too dangerous because everyone was so close. The stunt guys choreographed the whole thing using a map of DaredevilРІР‚в„ўs body that showed where he gets sliced. Karl: We also had a really strong partnership with the production team. We were nominated for an Emmy for that sequence and I think itРІР‚в„ўs because it really showed the strength of artists and tools coming together. It behaved like an ordinary practical prop would. Even a stunt person canРІР‚в„ўt swing around a weapon like that safely so we used Maya and its dynamics system to develop a very, very physics-based rig that was incredibly easy to art direct. What work in DaredevilРІР‚в„ўs first season are you especially proud of?Р”В«ryan: ThereРІР‚в„ўs a brutal, knock-down ninja fight involving a chain with a knife on it. 'It was a classic case of where they said, РІР‚ВHoly s-t, this is way too dangerous, can you help us out?РІР‚в„ў In the end, they made the fight look awesome and we made it look real.' It was a Maya pipeline that we used, so I helped to build a few tools, too. I made sure things went smoothly and provided input on matching what we were looking for with what we were passing off to our compositing team. Some of it was small and some of it was big and fun, like explosions, fire, and characters jumping off buildings (laughs).Р”Р„nd Stephen, how did you fit into all this?Р”Р„s CG Supervisor, I oversaw the teams of their really excellent artists. As is the case with all projects though, things go wrong and last-minute stuff comes up. The mandate with Daredevil is realism and grit, so we try to take care of as much practically and as in-camera as possible. I did all the on-set supervision for both seasons: production meetings, assessing where visual effects could help, smoothing out problems, and when possible, meeting with the team in the office to finish up shots. Karl, describe the work you handled as Digital Effects Supervisor.

Digital screen replacement vfx autodesk flame