Je regne d’une poigne de fer sur ce blog, j’exploite, je fais subir et je maltraite mes redacteurs. Prohibited the total or partial reproduction of the contents of this website without permission of the website's owner. Currently working on The Hobbit: The Five Armies, Weta's Kevin Sherwood reflects on a decade of change in VFX.
Getting Smaug to do what he needed to do while still looking realistic was a technical and creative challenge, says Weta's Kevin SherwoodThis article is brought to you in association with Masters of CG, a new competition that offers the chance to work with one of 2000AD's most iconic characters. Sign up below to get the latest from Creative Bloq, plus exclusive special offers, direct to your inbox! Creative Bloq is part of Future plc, an international media group and leading digital publisher. There are big prizes to be won, so enter today!When it comes to movie special effects, size matters.Take Smaug, the titular dragon in the second Hobbit film, The Desolation of Smaug.
He was previously associate editor at Creative Bloq and deputy editor at net magazine, the world’s best-selling magazine for web designers.
You can unsubscribe at any time and we'll never share your details without your permission. It includes FX tests, FX production, footage of animatronic puppet Slimer, Bill Murray having prosthetics applied, and tons more. Over two decades in journalism he’s worked for a wide range of mainstream titles including The Sun, Radio Times, NME, Heat, Company and Bella.
At least when they're in scenes with a larger character, and both are being played by normal-sized actors.We're talking here of the trickery used to make Ian McKellan as Gandalf look enormous when appearing next to the dwarves. And the solution is something you probably wouldn't have guessed.Gandalf and the dwarves seem to be interacting - but were actually on different sets"It's what we call slave mocon," explains Sherwood.


That's being driven by the live action set camera and choreographing action so that you can do a scale change.The two-set shuffleWeta used this technique in the scene where Gandalf is at Bag End and he's having dinner and all the dwarves are wandering around.
A young boy named, Kubo, must locate a magical suit of armor worn by his late father in order to defeat a vengeful spirit from the past. So Gandalf was on a green screen set with a motion control camera."That camera was driven by a live action crane on the Bag End set. He's been working in the industry since 1994 - his first job out of film school in California was with ILM - and he's spent the last 12 years down under with Weta.He arrived in 2002 to work on the second Lord of the Rings movie, The Two Towers. I hadn't seen creature work to that level before."Having originally signed on for a 10-month contract, Sherwood fell in love with working at Weta, and has stayed there to this day working on a ton of blockbusters, including four Middle-earth epics, Avatar, Prince Caspian, I-Robot and Rise of Planet of the Apes.
Originally, animated movies were created using traditional hand-drawn animation techniques. Although they can be quite tricky to work with."Again, it often comes down to a question of sizing. This gradual transition from models to full-blown CG has been one of the biggest changes he's seen during his time at Weta, he says. The other notable one has been the rise of stereo 3D, which he first encountered on Avatar."That was a really exciting film to work on," Sherwood smiles.
James Cameron's quite a powerful personality and the way he talked about it and the confidence he had in what he was doing was really infectious."He really had a vision. Hollywood enchaine depuis plusieurs annees les films a gros budget mettant en scene des super-heros aux pouvoirs hallucinants. Pour tourner les scenes ou ces personnages mettent en action leur pouvoir, les realisateurs doivent faire appel aux effets speciaux. He thinks about species and tries to tie it into science."Weta won the Best Visual Effects Oscar in 2009 for AvatarGetting this kind of detailed background from the director really makes a difference to the work of the VFX artist, stresses Sherwood.


Voici une collection de photos avec les acteurs pendant le tournage, souvent sur fond vert, et apres le travail des equipes techniques chargees d’ajouter les effets speciaux. Vous remarquerez que les acteurs doivent faire preuve d’une grande imagination pour jouer leur role!Publicite La magie du cinema! And someone asked him: what are the bats' relationship with Kong?"So Pete gave this detailed 10-minute speech - I don't know if he's just made it up at that point [laughs] - giving us all this information about the relationship that the bats and King Kong had together.
That kind of thing just adds to the universe you're trying to create, and makes the work a little bit more fun."Massive teamsAnd it's fair to say you need a bit of fun when you're dealing with such massive teams and such a massive number of shots.
So when, for example, there are more than 1,000 people working on Desolation of Smaug, how does he cope? They need to be given the responsibility to go ahead take those shots, and work out the angles. That's our way of dealing with it all - to reduce everything down to manageable sizes."And while things are certain to get busy near the end of a project, no one has to work through the night, he adds. I certainly don't operate at my best at that sort of timeframe."All of which bodes well for the third Hobbit movie, which Weta is working on right now. We invite you to form a team (of up to four participants) and tackle as many of our four categories as you wish - Title Sequence, Main Shots, Film Poster or Idents. For full details of how to enter and to get your Competition Information Pack, head to the Masters of CG website now.Enter the competition today!



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