Propstore is hosting an entertainment memorabilia auction on 23 September. Amongst the many props, replicas, wardrobe items and movie history are several effects miniatures and VFX pieces. One item I love is this Martian Giant Robot CGI Texture Reference Model from Mars Attacks! It was actually used by the VFX team (Warner Digital Services) in texturing their CG version for the film. There’s more pics at the link, too. Happy bidding.
The Man From U.N.C.L.E. offers up some great action scenes, and plenty of seamless visual effects work thanks to overall supe Richard Bain and teams at RiseFX, Cinesite and BlueBolt. I found out how three of the best chase scenes in the film were made.
That’s what I said to myself the first couple of times I heard about this seemingly obscure art/design/vfx conference in Portugal. But now about to hit its third year, Trojan Horse has in fact become one of the most sort out events of the year. In fact, it sold out in March (places are limited to 500 people). So now the organisers have created a great way for people who can’t go to Portugal to still experience Trojan Horse – via ‘THU TV’ – a livestream and post produced channel. All the info is in our fxguide story.
In my new book Masters of FX I profile 16 of the world’s best effects supervisors. One of the greats is special effects supe Chris Corbould, a veteran of the Bond franchise and Chris Nolan’s Dark Knight Trilogy and Inception. Chris had worked on so many films, in fact, that I couldn’t fit in the book everything he had done. So I’m pleased to now present Chris’ behind the scenes notes of the making of the BAT for The Dark Knight Rises, a vehicle that required close collaboration with the director, production designer, stunts and other effects teams on the film.
Chris Corbould: The BAT was going to be the ultimate in Bat-vehicles to end the trilogy on The Dark Knight Rises. Initially I was a little disappointed at the choice of a flying vehicle as I felt I would not be able to achieve as much practically as normal. I heavily lobbied Chris Nolan for a Batboat but he was adamant that he wanted something grand and impressive for his final film.
Eventually we sat down and it quickly became apparent that there were many opportunities to film the BAT practically including mounting it on a motorised motion base vehicle, travelling it on wires between two cranes and even hanging it on wires beneath a Sikorsky helicopter, all methods which we used in the film. However one thing was plain, we had to build a full size version and in fact we built two, one being a lightweight version for hanging on wires, the other with fully operational hydraulic flaps and cockpit.
The concept of the BAT was again determined by Chris and Nathan Crawley (production designer) who dreamt up the most unusual contraption which was a hybrid of helicopter blades fitted with jet engines and probably the most un-aerodynamic design achievable but alternatively looked incredible. Again from a plastic model measuring approximately two feet long, my CAD draughtsperson Chris Howes produced full size drawings of the basic chassis and then multiple panels which had to be moulded from carbon fibre to be ultra light. A team of 20-25 technicians constructed the BAT with Dan Homewood leading the aluminium chassis fabrication and Richard Gregory leading the moulding team with other crew concentrating on the hydraulic flaps and weapons.
Above: Chris Corbould describes the creation of the BAT, in this Warner Bros video.
On the other side of the Atlantic in Los Angeles, Scott Fisher and his US SFX team were constructing the motion base vehicle which when mounted on it, allowed the BAT to rise and fall 8 feet, tilt fifteen degrees side to side and back and forth whilst travelling along the road at sixty miles per hour. A unique feature which was incorporated into the design was a moving Batman mannequin which could move its head and arms and also blink its eyes.
Upon arriving in Los Angeles, the first job was to join up the BAT and motion base vehicle which married superbly. After lengthy trials we were confident we could achieve some spectacular results.
The first time we filmed with the BAT on the film was in Pittsburg where it raced around the streets chasing the convoy of Tumblers and Bomb Truck. One issue we had to contend with was the overhead utility cables which potentially could snag our BAT in flight but Pittsburg city did an amazing job by temporarily removing any risky cables although one unsuspecting street sign did meet a sticky end.
After a successful shoot in Pittsburg we returned to Los Angeles and embarked on the majority of our cable work where the BAT first appeared from the dark alleyway and flew over the police cars to flying it below a Sikorsky helicopter from the roof of a Los Angeles high rise office block. The next stop on the journey for the BAT was LA where Chris wanted to mount it on the top of a skyscraper overlooking the Statue of Liberty. The one problem we had was getting it up there. After initial enquiries it was too financially prohibitive to mount a crane on the top of the building so we decided to cut the BAT into small enough pieces to fit into the service elevator and then rebuild it on the top.
After completion of filming and when combined with the amazing CGI work carried out by Paul Franklin and Double Negative, the BAT looked spectacular but sadly marked the end of the Chris Nolan Batman trilogy.
Masters of FX profiles 16 of the world’s best visual and special effects supervisors and includes forewords from director James Cameron and producer Lorenzo Di Bonaventura. You can find the book at both Amazon UK and Amazon US.
Visual effects artist Alf Lovvold has made an incredible CG short pretty much on his own and rendering it all on the GPU. I asked him about the process. Includes some neat befores and afters and videos.
Focal Press and Ilex will be publishing my first book, Masters of FX, in August. This 192 page book, which includes forewords by director James Cameron and producer Lorenzo di Bonaventura, features interviews with 16 of the world’s best visual effects supervisors and the films they’ve worked on.
Most people will know I work for fxguide, but you might not know about fxguide’s sister company fxphd which offers visual effects training. The concept is: online video tutorials and access to the people (vfx industry pros) via forums and discussion. It’s pretty great. There’s a cool deal on at the moment – $99 to sign up as a fxphd member, one course, BKD fundamentals (awesome behind the scenes stuff), VPN software access and forum access. I’d really recommend it to vfx beginners and people already in the industry, too. Here’s the link to the offer.
Sometimes you never know which stories will be popular on fxguide. I talked to Digic Pictures about their great Witcher 3 cinematic, and they provided us with an insane amount of breakdown pics and videos. The result was a lot of reads – love the detail Digic was able to provide.
My two favourite GOT eps this season were Hardhome and The Dance of Dragons, which also just happened to be the ones I could speak to HBO’s visual effects team about. Mike Seymour also presented a new WIRED DesignFX video on Rhythm & Hues’ great dragon work.