Issue link: https://digital.copcomm.com/i/1547068
2 cgw j u ly • a u g u s t • s e p t e m b e r 2 0 2 6 ACHIEVING THE IMPOSSIBLE: NEW FRONTIERS IN PHOTOREALISM ot so long ago, even the most expertly craed computer-generated animals were oen glaringly obvious on screen. Realistic digital dogs were especially challeng- ing to pull off, thanks to our ingrained familiarity with real-life four-legged friends. It felt virtually impossible to cra a CG canine capable of conveying not just real- istic movements and accurate fur physics, but true emotional warmth. Now, advancements in visual effects have made CG animals nearly indistinguishable from their flesh-and-blood counterparts. Every nuance from nose to tail now brims with unbelievable realism, even in the notoriously difficult dog realm. VFX artistry has reached a groundbreaking new frontier in photorealism, finally building a bridge over that doggone uncanny valley that once plagued so many digital critters. In our cover story, we explore the complex, emotionally driven VFX that brought Heart of the Beast—and its heroic canine—to life on screen. In this captivating survival story, re- tired Special Forces veteran James Belmont (Brad Pitt) and his loyal combat canine, Odin (played by a German Shepherd named Uber and a trio of his kin), embark on a harrowing journey aer crash landing in the unforgiving Alaskan wilderness. Overall VFX supervisor François Dumoulin and his team took on the tremendous chal- lenge of seamlessly blending live-action dog performance footage with a fully CG, photo- real digidog double. "Every time we could, we tried to find—even if just for a fraction of a second—the dog getting close to that emotion. Close enough to guide our CG animation and make sure we were staying true to the character of the real dog," recalled Dumoulin. "Because you can get the best-looking asset with the best fur and muscle simulation, but if the emotion, if the personality is not there, the audience is going to tell right away that it's a CG asset." When references weren't available for a key moment when Odin growls at an intruder, the VFX team deployed specialized techniques to get the job done. "Our dog on set was just a really good boy and he was just too nice. He would never get angry or snarl or growl or anything," Dumoulin shared. "We found a take where the camera was panning with the dog, and for just a fraction of a second he looked slightly angry at something. We managed to keep just a part of the eye and the body language, and replaced the lower part of his face—his entire jaw and snout. We created this hybrid shot where the upper half of the face is the real dog and the lower part is completely CG." This issue also dives into the process of craing a distinctly stylized visual identity for five wild seasons of The Boys, spotlights the action-packed post workflow behind the mod- ern-day ninja feature SEEK, showcases the innovative technology that brought glittering underwater worlds to life on the set of Disney's live-action Moana, and more. As always, CGW would like to thank everyone who took the time to share their knowl- edge and experiences with our readers. Your dedication to your cra is what truly makes the impossible a reality. N R E C E N T A W A R D S E D I T O R I A L CGW MANAGING EDITOR Kendra Ruczak kruczak@cgw.com t: 818.291.1168 POST EDITOR-IN-CHIEF Marc Loftus mloftus@postmagazine.com t: 516.376.1087 PUBLISHER/PRESIDENT/CEO William R. Rittwage COP Communications A D V E R T I S I N G DIRECTOR OF SALES: PRINT, DIGITAL, AND AWARDS Mari Kohn mkohn@postmagazine.com t: 818.291.1153 c: 818.472.1491 EDITORIAL OFFICE / LA SALES OFFICE 620 West Elk Ave., Glendale, CA 91204 t: 818-291-1168 D E S I G N SENIOR ART DIRECTOR Michelle Villas michelle@moontidemedia.com ISSUE DESIGNER Kendra Ruczak kruczak@cgw.com C U S T O M E R S E R V I C E / C I R C U L A T I O N Tommy Rittwage tommy@copcomm.com t: 818.291.1166 D I G I T A L M A R K E T I N G / S O C I A L M E D I A Tommy Rittwage tommy@copcomm.com t: 818.291.1166 COMPUTER GRAPHICS WORLD MAGAZINE IS PUBLISHED BY COMPUTER GRAPHICS WORLD, A COP COMMUNICATIONS COMPANY. Computer Graphics World does not verify any claims or other information appearing in any of the advertisements contained in the publication, and cannot take any responsibility for any losses or other damages incurred by readers in reliance on such content. Computer Graphics World cannot be held responsible for the safe- keeping or return of unsolicited articles, manuscripts, photographs, illustrations or other materials. Address all subscription correspon- dence to: Computer Graphics World, 620 West Elk Ave, Glendale, CA 91204. Subscriptions are available free to qualified individuals within the United States. Non-qualified subscription rates: USA—$68 for 1 year, $98 for 2 years; Canadian subscriptions —$98 for 1 year and $136 for 2 years; all other countries—$150 for 1 year and $208 for 2 years. Digital subscriptions are available for $27 per year. Subscribers can also contact customer service by calling 818-291-1158, or sending an email to csr@cgw.com. Postmaster: Send Address Changes to Computer Graphics World, 620 W. Elk Ave., Glendale, CA 91204 Please send customer service inquiries to 620 W. Elk Ave., Glendale, CA 91204 Kendra Ruczak Managing Editor, CGW