THE THIRD FLOOR Inc.’s Post

Now this is how you lead a project.

Explore the world of invisible #visualeffects with Roni Rodrigues, #VFX Supervisor at Outpost VFX. In our exclusive interview, he breaks down the detailed work that brought authenticity to #BobMarley: One Love. Don't miss this fascinating peek behind the scenes!

Shahid - Ramadan At the moment, when we received a brief for this project, we decided that we have to find a way to win this bid and make it happen. Initial idea was to create an interesting commercial to show 7 unique digital environments and Crescent following through them with the main actors for a unique song created for celebration of Ramadan. We received 2 different treatments with different approaches for future implementation: everything would be shot on Chroma Key, or everything would be placed on LED screens and shot as an environment.  Initially, everyone wanted to create everything made of Stock footage and already existing assets, but during the Research & Development stage we realized that it won’t be an option because it won’t fit the idea and expectations from the client and directors. Initially, we have prepared treatment with 7 environments as it was in our production brief: - Space  - Lavender Field - Lantern  - Magical Forest - Desert - Clouds - Storm During the preproduction stage, once we won the project and started the Pre Production stage - we had to reduce the amount of environments in order to be able to fit the production timeline - 28 days. 2 weeks for Pre Production and 2 weeks for Post Production. Our biggest challenge was a timeline, which basically is not enough to plan everything thoroughly and make previz and animatic, we had to improvise on set, as well as directors didn’t want to strictly follow the storyboard, which was only ready by the shooting date. So, at the end we had to create 4 digital Environments: - Lavender Field - Clouds - Storm - Desert Additionally to the Digital Environments, we had to create: - Flying Fish - Butterflies  - Fireflies - Hot Air Baloons - Lizard - Ancient City - Crescent - TV Screen Content - Sails On the Post Production stage we had 64 shots, and all of them were needed to be working in parallel to be able to deliver in time. So, we had to improvise and work during the day as well as overnight, because we loved the idea of the project, and imagined a final result. So, it was a challenge, but we knew that we wanna make it happen. Client: Shahid Production: Bigfoot Films Executive Producer - Aly Seifelnasr Producer - Farah Abdelkader Post Producer - Aya Badr Post Production: High End VFX Producer - Alex Sytnik Art Director - Sergey Nakaryakov CG Supervisor - Sergey Metelsky VFX Supervisor - Alexander Wyatkin CG Environment Lavender Field - David Gobeev CG Environment Desert - Egor Vorobev CG Environment Clouds - Danil Maslov + Sergey Metelsky CG Environment Storm - Pavel Klimov 3D: Sergey Metelsky, Pavel Klimov, Petr Pavshintsev Roto/Cleanup: Egor Zhuk, Stepan Rozhkovski, Yuri Korshunov Compositing: Ilya Igonin, Ilya Kireev, Egor Zhuk, Vasily Rogozin, Dima Vasiliev, Vitaly Gusev  On Set Supervisor - Felipe Suarez Hernandez DI/Editor - Vlad Nazemtsev Color Grading - Evgeny Gvozdev Sound Designer - Dmitri Lobanov Link on Vimeo: https://lnkd.in/gAgdb_Up

From Green Screen to Final Cut: A Step-by-Step Guide to VFX Production https://lnkd.in/gqRAxxv6

We cannot deny the fact that films and movies are a huge source of entertainment in our lives. To an audience, a film is just storytelling that exceeds not more than three hours. However, a lot goes into the making of these movies. #voguedesigninstitute #vogueinstituteofartanddesign #vogueinstitute #vogue #animation #animationstudio #animationchallenge

We cannot deny the fact that films and movies are a huge source of entertainment in our lives. To an audience, a film is just storytelling that exceeds not more than three hours. However, a lot goes into the making of these movies. #voguedesigninstitute #vogueinstituteofartanddesign #vogueinstitute #vogue #animation #animationstudio #animationchallenge https://lnkd.in/g658Vi-t

This will be a bit of rant of what VFX sup is supposed to do, what is VFX sup's real job. Yesterday I had a chance to share a stage with great crew that made a film that won #Palme D'Or on #Cannes film festival. We had screening and great people from Croatian audiovisual center presented to each of us with a smal replica of Palm D'Or. It was realy nice gesture. Because film is a team work. I worked on that film as VFX supervisor. And it ended up having almost no VFX at all. So question is: why I'm so proud of working as a VFX sup on film having almost no VFX? In my opininion my job, as VFX sup is not to push as much work as possible into VFX studio. My job is to help director tell his story in best way possible while keeping production on budget. In this film, in beginning, we were supposed to do whole lot of environments. Actually almost all environments were supposed to be made with CGI. But we knew that it will be almost impossible to do all of it on time and on budget with quality that it requires. So I spoke with director and we looked at what we REALLY need to show and realized that with slight change to micro location and few tweaks of camera positions and bit fogging of windows we could get almost all environments needed in cammera. And get decent time and money for few shots that realy needed VFX work. That, in my opinion, is real job of VFX sup. To work in a team. To underestand what is emotion and vision that director wants to show. And help team to produce the best possible film with given constraints. And that is why I'm so proud to be a VFX sup on film that had almost no VFX at the end. Thank you #antitalent, Nebojša Sljepčević and #Poster for giving me this oportunity. #VFX #VFXsupervisor #Cannes

In 1857, Oscar Rejlander created the world's first "special effects" image by combining different sections of 32 negatives into a single image, making a montaged combination print. In 1895, Alfred Clark created what is commonly accepted as the first-ever motion picture special effect.(Source - Wikipedia)   Fast forward 124 years to July 26th, 2019, to Season 1 premiere of Prime Video & Amazon MGM Studios #TheBoys. Within the first 90 seconds of Episode 1, "The Name of the Game" you encounter a #visualeffects scene that I can only imagine took weeks and multiple talented artists to create. Of course, the visual effects scene that reeled me into this bloody diabolical and unhinged show happens five minutes and forty-two seconds into the episode. IYKYK. I still remember how I felt after watching it.    I've always heard about special effects and seen hundreds of movies and shows with special effects in them. It wasn't until The Boys that I really gained an appreciation for the behind the curtain creativity, passion and skill it takes to create the absolutely mind-blowing and frankly funny scenes. Blood, Guts and Gore, Oh My!    Reading interviews like this one from Stephan Fleet gleans even more insights into how the visual effects team works, their collaboration with other visual effects teams, and stellar execution of words on a page to screen. Every season shows more and more dedication, excitement, madness, insanity and of course incredible skills from the visual effects team of The Boys.  As one who enjoys learning how things are created behind the scenes, I've started a beginner course on LinkedIn Learning called Explore Motion Graphics and Visual Effects. Looking forward to gaining even more perspective into the minds of these creatives.   As the final countdown to Season 5 has begun, you would think I could fathom what could come next. Of course, there's no point in fathoming because what I imagine will happen, will be a million times better from this team and the entire production team with even more gallons of blood and terror. (still hoping Terror aka Bentley the Bulldog makes a final appearance in Season 5 😉 And I'm always up for being doused in the gallons of blood. 😉 😉) Thank you to the entire Visual Effects department that keeps me re-watching this show over and over again. The Art of VFX Stephan Fleet Tony Kenny Rian McNamara Xander Copp PIXOMONDO CNCPT John Griffith MPC Rocket Science VFX SPIN VFX DNEG Ingenuity Studios Dynamic Effects Collective #opentowork #openforwork #opentonewopportunities #film #television #filmandtelevision #entertainment #passion #recruiters #recruiting #journeyoflearning #projectmanager #projectmanagement #programmanager #employeeengagement #employeeenrichment #storytelling #creativity #momentsthatmatter #culture #businessoperations #marketing #productionoperations #creative #primevideo Prime Video & Amazon MGM Studios #amazonmgmstudios #amazonstudios #sonypictures Sony Pictures Entertainment

CGI vs VFX vs SFX: Understanding the Differences in Film Effects #Entertainment#Guide

CGI vs VFX vs SFX: Understanding the Differences in Film Effects #Entertainment#Guide