The Flash

I was responsible for the CG delivery of 255 shots, with the remaining shots passed to other units out of layout during the unit split. I supervised 90% of 73 complex assets, spanning modelling, texturing, look development, CFX, groom and rigging, and solely ran the Assets / CFX Setup show dailies, presenting directly to the VFX Supervisor for final approval and feedback. The film demanded a high volume of digital doubles with many variations. With Barry often appearing twice in the same shot, they had to be of the highest quality. Hero performance shots were supported by Scanline (Eyeline) and their new volume capture technology, while anything not requiring close-up work used our standard digital double workflow. The project spanned the full spectrum of VFX: complex facial and body tracking, full hero practical costume replacements, Supergirl's cape, hero vehicles such as the Batmobile, and massive environments and set extensions, including large-scale environments recreated and destroyed through simulation. FX ranged from heavy snow and waterfalls to fire and lightning, and lighting covered day, night, snow and cloudy atmospheric sequences. The greatest challenge was the sheer volume of assets to rebuild, whether for Batcave set extensions or for hero costume replacements where on-set costumes were insufficient or unused. I was involved from the very start and saw the project through to the end, just over a year in total.