Issue link: https://digital.copcomm.com/i/541232
www.postmagazine.com 11 POST JULY 2015 BITS & PIECES ENCORE VFX ENVISIONS THE PARANORMAL FOR ABC'S THE WHISPERS HOLLYWOOD — A mysterious force begins manipulating children in ABC Tele- vision's new series The Whispers, which features visual effects from Encore VFX (www.encorepost.com). Led by Encore VFX supervisor and creative director Stephan Fleet, Encore artists in Vancouver and Los Angeles completed any- where from 30 to 60 VFX shots per episode, including a mix of crucial story- telling visuals and invisible effects work. Encore Vancouver executive producer of VFX Bob Habros oversaw the project locally while Encore Vancouver VFX supervisor James Rorick ran point on-set. "Encore VFX has consistently proven our ability to bring feature-caliber VFX to the small screen; The Whispers is a testament to our artistic talent and how we work seamlessly across locations to the benefit of a production," says Tom Kendall, SVP visual effects, Encore VFX. "This project set the bar high from day one, and the production pedigree is outstanding; not only is the concept exceptional, but it's also inherently challenging in that an invisible entity is central to the plot," says Fleet. "There has been a Herculean effort on all sides to make the show as great as it is, and we've created some of our best work to date." For conceptual problem-solving, Encore VFX partnered with fellow Deluxe Creative Services company Method Studios in Vancouver to design otherworldly props and CG scene elements that, while fabricated, mimicked reality. Production pointed to real-world examples, like existing geological formations, and provid- ed loose sketches to guide development. Without divulging season spoilers, VFX work in the show was vast and varied, including everything from oversized fulgurites, a massive power plant explosion and plane crash wreckage to set extensions and environment work. Encore's Vancouver and Los Angeles facilities shared shots evenly, with up to 30 artists contributing to complex episodes. Fleet collaborated closely with show creator Soo Hugh, producer Phillip Hoffman, showrunner Zack Estrin and associate producer Ryan DeGard in finalizing shots. To keep the review process flowing smoothly, a combination of Cospective's CineSync and Autodesk Shotgun with RV were leveraged. Artist tools used include Autodesk Maya, Autodesk 3DS Max, Pixologic's ZBrush, The Foundry's Nuke, Autodesk Flame, Adobe After Effects and Side Effects Houdini. Culver City, CA's Artemple-Hollywood (www.artemplehol lywood.com) produced all of the visual effects featured in Warner Bros.' Entourage film. The studio completed more than 150 VFX shots, many of which involved crowd dupli- cation, tracking and compositing, CG elements, and 3D matte paintings. The studio used a combination of Nuke, 3DS Max, Photoshop, Mocha and Maya on the film. Its 3D matte paintings were integrated into the production, al- lowing the filmmakers to shoot in one location and have it double seamlessly for another.