Creating VFX for 3D and making it seamless is very difficult and time-consuming.
#VISUAL EFFECTS IN FILMS MOVIE#
The movie doesn’t stop and turn into a VFX moment. I would stress it’s an artistic achievement what it looks like and feels like is the achievement. “We’re using all the latest technology, but we’re not concerned with completely blowing you away - though we have train crashes. The team took an artistic approach to the VFX, aimed at seamlessly joining the special effects with the cinematography, production design and 3D elements of the production. There was huge R&D - over a year - to build this virtual world where we could stage all of this fantastic action, as if we really were able to go to the world of Harry Potter and Hogwarts and film there.” “This film required us to build the environment for Hogwarts and all of the staged action in the majority of the film: the battle for Hogwarts and the film’s showdown between Voldemort and Harry. The Potter VFX team produced its most complex work in the series, for the first time creating a completely CG-rendered Hogwarts School of Witchcraft and Wizardry. ? Harry Potter and the Deathly Hallows Part 2 Frame by frame, we reduced his height about 5 or 6 inches, thinned out his cheeks and his neck, reduced his shoulders, his waist, everything about him.” It’s taking the edges of the character and pushing all the edges closer in, so that his overall body mass has reduced. “In order for the story to be believable, we had to create a character that people never questioned was actually an effect.
Townsend became a weight-loss guru for actor Chris Evans, who appears at the start of the film as a skinny Steve Rogers before he transforms into the muscular Captain America. The most challenging aspects - there were two - were getting Tintin’s face right, because of the subtlety that we needed to convey but still not get too far away from the original design and from a purely technical, number-crunching standpoint, probably Snowy because the dog had all that performance complexity as well as all the fur.” “We were trying to create characters that you felt were alive in this world that they belonged to. To capture the essence of artist Herge’s comic book character, Letteri and his team combined careful design work with performance-capture techniques. Joe Letteri, senior VFX supervisor, Weta Digital
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