Computer Graphics World

November / December 2017

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12 cgw n o v e m b e r . d e c e m b e r 2 0 1 7 F E A T U R E crowd favorite. Nolan is known for his use of practical effects, and this continued in Dunkirk. There is, however, CGI, which played an important role – and added to the story to re-create the period and the drama, including CG versions of planes in battle and crashing, as well as crowd scenes and CG water. Guardians of the Galaxy Vol. 2 Marvel Studios, Walt Disney Pictures May 5, 2017 The Guardians returned to the big screen in a big way, with its cast of characters – both human and CG. Weta was tasked with creating Ego, Peter Quill's father (Kurt Rus- sell), who has the ability to create an avatar of himself. Additionally, VFX artists had to de-age Russell for a flashback sequence, thanks to Lola. VFX artists also animated the digital raccoon from the first film, and in this one, there is a baby Groot, a CG version of the adult digital character from the original movie. Moreover, Vol. 2 contains many complex CG environments, including Planet Hollow, a spider web-like environment. Kong: Skull Island Legendary Pictures, Warner Bros. March 10, 2017 Artists created a mythical island, unique crea- tures, and of course, the monstrous Kong, the star of this film. There were digital helicopters, a digital ship, a digital storm, and more. Two particular mandates set the tone for the VFX work in the film: that the setting would be Vietnam and that Kong was a monster, not a gorilla. That said, artists extended sets, generated all-CG environments, and replaced footage shot in Hawaii. The big scene-stealer, though, was the massive CG Kong. Pirates of the Caribbean: Dead Men Tell No Tales Walt Disney Pictures, Jerry Bruckheimer Films May 26, 2017 Captain Jack Sparrow made his return in another Pirates visual effects extravaganza, the fih in the series. Dead Men contains 2,000 VFX shots, with 150 of them full-CG. Half the movie takes place at sea, and CG ships oen sailed the digital waters and pirates walked the digital decks. This is no ordinary water, though; it is heavily art-directed. Also, the film features ghostly pirate hunters, who always look as if they are underwater. They are undead, a look achieved through digital augmentation and prosthetic makeup on some, and full-CG for the others. Star Wars: The Last Jedi Lucasfilm, Walt Disney Pictures December 15, 2017 The battle to save the universe continues with the next chapter in the Star Wars saga, The Last Jedi. In this film, Rey joins Luke on an adventure with Leia, Finn, and Poe that unlocks more mysteries of the Force and secrets of the past. Although the mysteries surrounding the film are being held close to the vest at this time, audiences can expect out-of-this-gal- axy visual effects in the form of unique lifeforms, intergalactic beauty, awesome spaceships, and complex space battles. Valerian and the City of a Thousand Planets EuropaCorp, STX Entertainment July 21, 2017 For Valerian, Luc Besson's unique vision was brought to life by VFX artists, who created amazing digital environments and CG creatures. In fact, most of the film is computer-generated. And the film's title hints at the scope of the work. There is a space station big enough to contain a thousand worlds. All the creatures had to look like they came from different worlds and different environments; and they had to behave differently. Yet, they all had to be part of the same cinematic world. War for the Planet of the Apes Twentieth Century Fox July 14, 2017 Weta once again upped the ante for this last installment of the Apes rebooted se- ries, which features a more expressive cast of characters; more detailed fur grooms; more complex performance capture in even more extreme weather conditions, in- cluding snow, as it interacts with the digital fur; more complicated environments; and more simulation and effects. Wonder Woman Warner Bros., DC Entertainment June 2, 2017 The goal was to keep the film grounded when

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