The majority of work and shot production happened at MPC Montreal apart from the asset builds which were split between MPC London and MPC Bangalore and Matchmove, roto prep and some comp work in Bangalore. No Man’s Land, Veld town and the Beach battle sequence, from the point where Steve’s planes comes crashing down towards Themyscira. There was a good balance but some shots relied more on CG, like the impossible stunts where we created a digital Diana. A combination of stunt, SFX and VFX were used. In many of our shots the VFX work is meant to be invisible, supporting the drama and action. What was their approaches and expectations about the visual effects? Bill and Frazer are both very experienced VFX supervisors and had great input and advice for the VFX on the show. Patty Jenkins is a very passionate director and had firm ideas on how she wanted Diana to come across. How was the collaboration with director Patty Jenkins and VFX Supervisors Bill Westenhofer and Frazer Churchill? Once the work had been awarded the shoot soon started and the project began. We had some early meetings with Bill Westenhofer during pre production where we discussed the various aspects of the show. How did you and MPC get involved on this show? She then worked on A MONSTER CALLS and today she talks about her work on WONDER WOMAN. In 2015, Jessica Norman explained to us about the work of MPC on EXODUS: GODS AND KINGS.
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