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j a n u a r y . f e b r u a r y 2 0 1 7 c g w 2 1 trong historical figures. Amazing period architecture. Exotic worlds. Intrigue. Murder. Devious plotting. Breathtaking parkour stunts. It's all part of the Assassin's Creed DNA. For years, digital artists have created a video game franchise based on periods from past centuries, blending historical fact and fiction centered on the mysterious Knights Templar and the fictitious Assas- sins. Recently, this blended storytelling has migrated from a pure-CG delivery in the various iterations of the Ubiso video game franchise to one that embraces physical sets, wirework for the complex stunts, and other practical effects in order to achieve the most realistic look possible in the film from 20th Century Fox. "We were really determined to make an audience believe this world and these characters exist," Justin Kurzel, director, has said. Nevertheless, computer graphics played a vital role: The film contains more than 1,300 VFX shots that range in complexity. "While the intention was to shoot as much as possible in-camera, this really only gave us a framework to work with," says Ged Wright, production VFX supervisor. "In the end, 90 percent of the shots have been manipulated in some way, from adjusting the camera, timings, lighting, and per- formance, to fully CG shots with crowds, effects animation, CG environments, and digital doubles." DESTINY The first Assassin's Creed game was introduced a decade ago, followed by over a dozen more from eras including the Renaissance, French Revolution, and more. The central plot focuses on the ages-old struggle of two ancient secret societies: the Assassins, who fight for peace and free will, and the Templars, who also desire peace albeit through control. The games have both a historical and present-day element, whereby a modern-day descendant from a prominent line of Assassins is forced by a corporate front for the present-day Tem- plars (Abstergo Industries) to experience ancestral memories via a device called the Animus, in hopes that he can lead them to ancient artifacts used to control minds. The hero begins working with modern-day As- sassins in the games, using their Animus to continue experiencing past memories, with the goal of recovering the so-called Pieces of Eden artifacts, including the Apple of Eden, which contains the genetic code for free will, before the Templars do. Yet, some of the memories take a more permanent hold on the hero, both physically and psychologically, as the past and present "bleed" together. The Assassin's Creed film continues the main premise, introducing us to a new hero, Callum Lynch (Michael Fassbender), who is forced to explore the memories of his an- cestor Aguilar, an Assassin from 500 years in the past during the Spanish Acquisition. "There were certain beats, such as the assassinations, that were heavily influenced by the games," says Wright. As in the games, the film features epic period vistas and action, transporting view- ers to 15th century Spain, where Cal learns the knowledge and skills that enable him to take on the Templars in the present day. Filming occurred in Malta, the UK, and Spain. "Justin [Kurzel] had a strong desire for things to be based in reality, and that, coupled with the live-action photography, gave the film a certain look," says Wright. "So, aside from a few stylized flying shots, most of the work was bedded in reality." Nevertheless, digital effects were required to tell this fictional history lesson. The main CG work was used for scenes in the present-day Animus chamber and 15th century Spain, which the artists tried to make as immersive and tangible as possi- ble in keeping with the games. Double Negative was responsible for 457 shots, including the Animus chamber, which comprises the mechanical arm, significant set extensions, and the so- called Bleeding Effect, whereby the genetic memories of an ancestor begin to blend with a person's own, real-time memory. The crew also handled the second and third regressions, which account for Cal's trips to the past, including the complex rooop chase in the second regression. The facility also took on the sweeping eagle vision shots, which are homage to the game, with the camera following the eagle through different environments and locations. Meanwhile, Cinesite handled 209 shots across its Montreal, London, and Van- couver (partner Image Engine) studios. Cinesite Montreal was responsible for the first-regression wild wagon chase that ends with a "cliff-hanger," the exciting finale in London, and the Apple of Eden shots in the Granada attack. Cinesite London focused on the Animus set extensions shots during the escape of the Assassins from Abster- go Industries, and enhanced the fight by adding CG weapons and re-positioning and re-speeding actors in the scene. The group also handled exterior greenscreen shots in which they added the city of Madrid. Cinesite's Vancouver partner, Image Engine, was charged with the action shots in the escape from Abstergo. This included the creation of CG weapons, such as knives, crossbow bolts, and arrows; face replace- ments; and enhancing the fight with effects. One of Us took on a range of design and invisible work across the film. And, an in- house team and a number of other vendors picked up additional work as needed. DNEG: EAGLE VISION Eagles play an important role to the Assas- sin Brotherhood. The birds swarm around high viewpoint structures that the Assas- sins use to navigate their surroundings and perform their signature Leaps of Faith from. In fact, Assassins dubbed the sixth sense that belonged to some of their members "Eagle Vision." At Dneg, Mattias Engstrom and Sebas- tian Becker led a team that created the CG eagle, whose look was based on an actual Iberian eagle, Princess, which was photo- graphed in controlled lighting scenarios to used as reference. The bird was also digitally scanned by Propshop Digital using Agiso's PhotoScan, and the data used as the basis for the head and claws of the model, with the wings created based on anatomy diagrams. The feather system for the model was generated in Side Effects' Houdini. "We had more accurate control an- imating the feathers in animation and then using effects simulations to solve for geometry penetrations, than driving this as a simulation," says Graham Page, Dneg's visual effects supervisor on the film. "This meant a far greater degree of control and a quicker turnaround." To animate the eagle, the group again used real-world reference as a guide,