The special effects in the film «Mad Max: Fury Road». Part 2/2 Bashny.Net

Crossing the canyon h4>

Iloura and Jackson's Fury FX group engaged in the processing of the scene in the canyon, pictures of which required considerable environmental improvements. "Compared to the place of filming, the final version of the canyon has been greatly supplemented," says Jackson. "Canyon has been made much higher and narrower than the actual area. In one of the moments of the film there is a scene with the explosion of rock, lies "arch" over it. So, in reality, such a bottleneck with these rocks does not exist ».



Cinema and reality. I>

To blast the rock originally planned to use computer graphics, but Jackson said: "I've spent too much time to explain to people how to shoot real objects instead of using computer graphics. We began to look for a place where we could blow up any rock in miniature, driving shot from close range. As a result, in the area of ​​the shooting was found careers. We asked the owner if we could arrange an explosion in his career, to which he replied: "Yes, of course." We have secured a small area down to the ground chamber agreed on all angles and produced an explosion. That's what we did. "



The explosion in the film and his career. I>

The conversion of the day into the night h4> In the film, there are night scenes were actually filmed in the midst of the Namibian desert in bright daylight. Instead of traditional gloomy frame night scene Jackson was a very rich and highly visible. The approach was to obtain Jackson's staff, similar to photos taken at night with a slow shutter speeds. "With Nikon cameras can I do with pictures of two, three, four times the shutter speed that will give the picture as good as it is at all possible."



The original picture from the shooting. I>



A scene from the film after treatment and tinting. I>

Night scenes Jackson filmed with a digital camera ARRI Alexa. It was rational, as overexposed frames contain less noise and transmit images in more detail, as when using the camera image is not Alexa rolled into too bright, "overexposed" pictures that later helped to transform the material filmed during the day in a night scene. "The most important thing is that you get from a day of shooting night scenes - a shadow. Even the "turning day into night," you keep a detailed arrangement of the shadows that still exist. You can darken the entire image, but details will remain as a shadow, ie you do not get a result, "black on black". »

However, the use of such an approach should have to justify. "I spoke with John Shiloh on the subject and he has held a number of test surveys: in broad daylight in bright sunlight and using ARRI using different exposure settings," recalls Jackson. "They told me that this is not the most stupid idea and decided to do test shots with two, three and four times the delay, but had planned only half-hearted. I had to work hard to convince them to use it four times - they thought that this was just ridiculous. But when we ran tests and they saw how the resulting material looks amazing, it was decided on the spot. »


Shooting "Gunslinger». I>

During sorting frames used Hipp breadth characteristics Alexa, to turn day into night. "When I started the assembly stage," recalls Hipp, "I was shocked. Frankly speaking - you have people running around in the shot in broad daylight. The films were moments when the actors literally squinted from glaring sunlight, glare present. And these overexposed shots taken in broad daylight, should be turned into a night scene. How can I do this? »

"But this approach has worked," says Hipp. "It was not the typical" single-layer "shots, they say," Hey, everything we did it, "there can not be just down to lower levels, and to say that it is now night. It was not necessary to keep photo-realistic, although it was the first thing we tried to do - so I tried to create a realistic image of how it was possible. It turned out really good shots, but they were difficult to see anything. We had to find a middle ground and we chose a stylish graphical approach. We had a version with a lot of blue, but we stayed in a saturated blue light. Overexposed shots came to the scene better, they were nicer than underexposed. This scene took place in the dark shadows and save the game made sense that, in fact, it is strange. »

The final scene h4> The final chase scene pursuers using original poles and "cats", constantly attacking the "Battle Furu." At some point one of the cars exploded spectacularly. The explosion was conceived as a real and was filmed in Namibia and after Iloura added to frame other cars and Max hanging on a pole in the foreground.



The original blast. I>



A scene from the movie. I>

"They drove a truck into the wilderness and remote controlling them, they blew up. Shoot it from different perspectives: using cars and helicopters. This amazing special effects. By all canons of car bombs, flew up into the air - now it's just extraordinary. Once it was a cliche for all car chases. Our job was to finalize these frames environment: The original scene was shot on a completely flat desert terrain, and Jackson wanted the action took place not far from the canyon, surrounded by cars and Max in the foreground. Any changes with the help of computer graphics into the elements of an explosion, we did not make. »



The scene in the canyon and real footage from the scene of shooting. I>

Work on the final stage of the chase involved studio The Third Floor PREVIS, he told her about the head of Glenn Burton. "Computer models of cars created PREVIS, were of the same forms and dimensions, which forced us to work in a confined space, since we had to fit into the frame of actors and arrange shooting equipment," explains the artist studio, Shannon Dzhastison. It was also important that the car did not move, so as not to expose the actors at risk. At the same time it was necessary to spend PREVIS shooting so that everything looked truthfully.

The guitarist gets its h4>

In one scene of the film takes place in the gorge road blockage, which also gets a car with guitarist who most of the film is suspended on cables.

Visuals created on the plateaus of Namibia, where the work of actors and mechanisms accompanied by a moving background, adding a virtual canyon, spectacular collisions Battle Waggons and other cars. Surprisingly, all of these twisted wreckage of cars, metal and even a guitar that flew in front of the camera, the special effects were not virtual, everything was done "by hand».



Cinema and reality. I>

"I think in the episode with the guitar we shot the best that were capable of," says Jackson. "All of these wires and fuel lines flamethrowers broken, debris and fuel particles scattered away. How do I imagined it was a more realistic approach to the chamber and the subsequent bounce back. We have created for the filming of the cradle in which hung a guitarist with his instrument. I assumed that if you pull it towards you and release, it will return to its original position (approx. Guitar is fixed to the cradle). We noted place, which reaches up to the cradle and load a camera for shooting the episode. So we had plenty of opportunities and trying to capture the moment with the right perspective. "

Even the steering wheel, which takes off after the guitar was filmed live, not made with the help of computer graphics. Jackson explains: "We were shooting with a small rotating карданова Suspension . In the end, George wanted to frame flew directly into the mouth of the skull on the steering wheel, but the resolution of the image was not enough. So we tracked the rotation of gimbals and took a few shots at the desired position in high definition. Later, we created the effect of stopping the rotation of using these images. Thus, even with a touch of the time frame for the mouth of the skull in the steering wheel was made live.

Hand Fyuriosy h4> < br />
Charlize Theron's character, Fyuriosa appears early enough. She lost her left arm below the elbow and has a metal prosthesis, and in one scene where she struggles with Max, she has to use only the stump. To achieve the desired effect during the filming Charlize wore a green sleeve to the special effects team could later "paint" a real hand and add the mechanical parts of the prosthesis where it was needed.



In fact, in terms of special effects, the work was carried out not very much, but the frame is one of the stars of the prosthesis has a computer. "Says Wood. "Much harder it was when Fyuriosa without a prosthesis, for example, in the scene of the fight with Max. In these frames is only visible stump. When filming this episode, we asked Charlize wear green gloves and do not use your left hand. Later on it was necessary to design and paint the stump, it is difficult in itself. We studied the behavior of people with an amputated arm, but they have the muscle and tissue dying out, and the character Charlize hand chopped off. All this does not look very nice, and even frightening. We had to do everything so that the stump did not look too disgusting, and track the movement of his hands resting on his elbow. »

Paint the sky h4> < br /> In many scenes of "Road Rage" is used complete, seamless replacement of the sky. I>

The frantic pace and complexity of filming in Namibia led to the fact that the background and the sky is not always consistent with each other visually from frame to frame. Plus, Miller wanted to give the film its own style. This led to the fact that sometimes the sky had to redraw using the color correction conducted by Eric hippie and an extensive library of images of the sky, Jackson collected worldwide.

"Replacement of the sky - it's the weirdest thing that Eric brought into the picture," says Jackson. "We really did not expect such a result. George thought that the color of the sky to communicate continuously between frames is not necessary, he just wanted to make the scene more interesting in those places where it is considered useful ».

Eric notes that Miller was adamant in its unwillingness to take the typical, whitish post-apocalyptic landscape. "While working in our heads always move two words: the graphic novel." Says Eric. "We kept repeating it to himself. Whenever we had tinted the sky, we have sought to make it graphic, saturated to izbeschat this typical henbane. "

Although the sequence of shots and is not critical, but to take in the African country is always difficult. "I heard that one of the challenges of filming in Namibia was morning fog clouds are catching up with the ocean," says Hipp, "so that you get the first whitish, misty hours, and then, in the afternoon, the sky clears up and becomes blue . It is very difficult to work in such different conditions. This is where we come in handy TINTING and sky, which allowed us to obtain the necessary image instead of whitish sky ».

During his work in Baselight, Hipp used photos from the set, and other places, made Jackson. Also attracts its own collection of images gathered them around the world. "It's like a little piece of heaven, which I carry with me always," says Hipp. "One of the most difficult parts of the film was the work of a night scene. We wanted to use storm clouds with a small gap between them, but the original image was not so easy to find. I even went to the shore of the lake here in Toronto, in the hope that the photos of cloudy sky, which I do, fit to work ».

In Baselight Hipp used "whole zoo of instruments to make the replacement of the sky. At first I took some pictures from the set and experimented on them, but it was most difficult to keep track of the details. As a result, I decided to go in a simple way and to replace the sky in more convenient for this stage. Yes, this has led to differences between the scenes, but the picture came to life. I knew what to do absolutely everything so I can not. So we turned to the visual effects team they fast-tracked the small details than we did in Baselight, and spend less time. But, for the most part, we have changed the background of the sky ».

According to Eric, for some staff had to track the position of the camera in the hands of the operator. For this action does not present any problems, but for other scenes he had to rely on more precise guidelines. "I wanted to explore the background footage to find, to catch hold in the course of work," says Hipp. "Sometimes it was a little space between the clouds or small pebble on background. Even if there was a landmark in the foreground, I could compensate for parallax, to bring what is happening on screen, what is happening in the background ».

Traditional approaches used by hippies and his team where the action took place against the sky. "Many times we just very lucky, because for the most part, we had to change the morning, the white sky," says Eric. "Thus, we have received the perfect frames for work. We could work with the sky and the light changes had no effect on what was happening in the foreground, with the exception of some of the highlights that have to add and remove images haze ».

Postobratoka h4> Understanding from the very beginning that the film would require a lot of effort to create special effects, Jackson mobilized for post sosbtvennuyu team. "I have many years inclined to think that the work on the visual effects needed a small team of crew to clearly formulate tasks for outsourcing," says Jackson. "Their task - to do everything possible to save every frame all the necessary mounting director effects to the film turned out as a result of connected and meaningful».

"We coped with the task perfectly well" - adds Jackson. "In the end we have to be very tight and solid installation, because it had all the necessary points. Rather than let everything take its course, we sent to companies that work with us over the effects of TK clear and they do them exactly. Another advantage, which gives in-house team of special effects - with plans for long-half-second per second, we could handle ourselves. With short plans are much easier to work - you can not pay attention to many little things. So many of them our team is made completely independently. "

Source: geektimes.ru/post/252886/