Computer Graphics World

November / December 2017

Issue link:

Contents of this Issue


Page 12 of 35

n o v e m b e r . d e c e m b e r 2 0 1 7 c g w 1 1 2017 Curtain Call Studios prepare their VFX and animated features for awards season By Karen Moltenbrey his year's films were big on budget and visual effects spectacle/com- plex CGI animation. Indeed, the vi- suals were meant to entertain and transfix audiences with imagery that was over the top. Alas, for all that big bang, the return certainly did not result in big bucks at the box office. It's not surprising that superheroes saved the day – or the year, in this case – with box-office proceeds, as did Jack Sparrow, the ape Caesar, and the Transformer Optimus Prime. In addition to those sequels, the true-life World War II film Dunkirk hit the mark along with the fictional espionage Kingsman sequel. On a scarier note, It frightened up big numbers, as did Kong: Skull Island. And, the live-action Beauty and the Beast enthralled audiences and continues to sit at number one at this time. Yet, there is a Star Wars film on the horizon, and it will be a force to be reckoned with. In terms of animated features, the number "three" was a popular one, with Despicable Me 3 and Cars 3 riding high. Also, The Boss Baby made quite an impression, as did Loving Vincent, the unique painterly ani- mated feature. Soon, though, the much-an- ticipated Coco will be released, as well as Ferdinand and The Star. Here we highlight some titles that have potential for making various award compe- tition short lists for best visual effects and best animation. Visual Effects Beauty and the Beast Walt Disney Pictures March 17, 2017 This live-action adaptation of Disney's animated classic was a risky undertaking: The animated tale was beloved by audienc- es. The director who took on this project was initially hesitant, calling that animated version "a perfect movie." However, aer much thought, Director/Writer Bill Condon accepted, confident that today's technology had caught up to the ideas introduced in that 1991 film. That includes the creation of a photoreal talking teacup on a practical set. Multiple large-scale practical sets were built for the 2017 live-action film, but there was no option to bringing to life some of the unique characters aside from the use of CGI. This includes a believable Beast as well as a can- dlestick, wardrobe, clock, teapot, and more. In all, the film contains 1,800 VFX shots. The movie was indeed a grand undertaking across every facet, and its reception was met in kind. Blade Runner 2049 Alcon, Warner Bros. October 6, 2017 Some scenes in this sci-fi remake have people talking. Mostly this centers on the stunning sets and amazing CG re-creation of the replicant Rachael, played by actor Sean Young in the original film. The scene where she is reunited with Deckard (Harrison Ford) is packed with emotion – while CG artists have been getting closer to achieving photo- real human characters, the nuances of subtle human performance and emotion have been the missing secret sauce. If the work that MPC did involving Rachael for this sequel is any indication, then the studio has come up with the right recipe. Dunkirk Syncopy, Warner Bros. July 21, 2017 With acclaimed director Christopher Nolan at the helm of this gripping film, it's easy to see why it has become a T

Articles in this issue

Archives of this issue

view archives of Computer Graphics World - November / December 2017