11/29/2022 0 Comments Super mega worm sound effectsWhat we called it was the ‘dog collar’, which circled the entire gimbal, the idea being that when it was a bright, sunny day, the sun would bounce off the dog collar into the ornithopter giving us the ideal lighting. So what that meant, for example, for the interior ornithopter work, we went out and scouted and found the highest hill in Budapest, and we built our gimbal on top of this hill so we could get a nice flat horizon, and then around the gimbal we constructed a 25 foot high sand-colored 360 degree ramp. We knew that whenever we wanted something to be outside, we were going to shoot it outside. Well, we did actually do one sequence with LED screens set in space above Arrakis which at one point was going to open the movie, but that never made the cut. So, that idea was abandoned pretty early on. But Greig knew that there was no way we could get that harsh, arid, hot, bright environment with an LED screen. I had done First Man with Tristan, and Greig Fraser had shot the first season of The Mandalorian, so obviously we talked about LED screens for potential sequences. Now, the one thing which we weren’t going to do was to try to recreate daylight inside a studio, especially for when we’re trying to recreate the desert environment. So we had to be creative to come up with different ways in which we could get everything we needed for visual effects knowing that we were going to be extending backgrounds and creating these amazing worlds.įor example, for the interiors of the ornithopters, traditionally, you would shoot these inside of a studio up against a greenscreen or a bluescreen. If anything, it kind of depresses him to see anything like that. I knew from the outset that Denis is not a big greenscreen or bluescreen fan. We spent a good six months in pre-production, coming up with various schemes and various different ways in which we were going to approach the work. Image Courtesy of DNEG © 2021 Legendary and Warner Bros. We all got on really well and had a similar goal to try and come up with the best procedures and the best techniques on set to be able to give us the best basis for our visual effects work. This was also one of the most collaborative projects I’ve been on, in that the DOP Greig Fraser was fantastic, Patrice Vermette the production designer was fantastic, everyone was. We wanted to embrace all of the natural environments which we were going to visit. We weren’t going to have any virtual cameras which could only be done in CG. Paul Lambert (overall visual effects supervisor): From the outset, the goal for the visual effects was to try and keep everything as grounded and as photoreal as possible. The overall approach to the VFX of Duneī&a: Paul, it would be great to sum up your thoughts going into this huge project in terms of what you wanted to achieve, what Denis wanted to achieve and what you thought were the hardest things going in. Lambert, a VFX Oscar-winner for Blade Runner 2049 and First Man, shares more on the making of the film, including crafting multiple worlds, massive sandworms, filming and creating flying craft, building protective shields and more, in this in-depth interview with befores & afters, alongside DNEG visual effects supervisors Tristan Myles and Brian Connor. While of course the VFX vendors on the film, led by DNEG (other visual effects contributors were Wylie Co, Rodeo FX, with MPC handling previs), certainly tackled sandscreen comps with roto where necessary, the decision to use those screens was indicative of the overall ‘grounded’ approach to plate capture and later digital effects work that Lambert and the VFX team took to Denis Villeneuve’s take on the Frank Herbert novel.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |