The Flash
Delivery
Delivery
Responsible for the CG delivery of 255 shots, with remaining shots out of layout passed over to other units during the unit split. Supervised 90% of 73 complex assets, including modeling, texturing, look dev, CFX, groom, and rigging.
Responsible for the CG delivery of 255 shots, with remaining shots out of layout passed over to other units during the unit split. Supervised 90% of 73 complex assets, including modeling, texturing, look dev, CFX, groom, and rigging.
Methodology
Methodology
Solely ran the "Assets / CFX Setup" show dailies, presenting work directly to the VFX Supervisor for final approval and feedback. The Flash had a high amount of digital double work with many variations. Often, with Barry appearing twice in the same shot, our digital doubles had to be of the highest quality. Hero performance shots were assisted by Scanline (Eyeline) and their new volume capture technology, while anything not requiring close-up work relied on our standard digital double workflow. The film also featured large-scale environments requiring recreation with destruction simulation.
Solely ran the "Assets / CFX Setup" show dailies, presenting work directly to the VFX Supervisor for final approval and feedback. The Flash had a high amount of digital double work with many variations. Often, with Barry appearing twice in the same shot, our digital doubles had to be of the highest quality. Hero performance shots were assisted by Scanline (Eyeline) and their new volume capture technology, while anything not requiring close-up work relied on our standard digital double workflow. The film also featured large-scale environments requiring recreation with destruction simulation.
Technical
Technical
This project spanned the full spectrum of VFX: complex facial and body tracking, full hero practical costume replacements, hero digital doubles, Supergirl's cape, and hero vehicle builds such as the Batmobile. It also included massive environments and set extensions. FX simulations ranged from heavy snow environments, waterfalls, fire and lightning bolt effects. The lighting department covered many scenarios, from day, night, snow environments, and a cloudy atmospheric sequences.
This project spanned the full spectrum of VFX: complex facial and body tracking, full hero practical costume replacements, hero digital doubles, Supergirl's cape, and hero vehicle builds such as the Batmobile. It also included massive environments and set extensions. FX simulations ranged from heavy snow environments, waterfalls, fire and lightning bolt effects. The lighting department covered many scenarios, from day, night, snow environments, and a cloudy atmospheric sequences.
Planning
Planning
It was nice to be right at the start of this project, and see it through to the end. My total project time was about 1 year and a few months.
It was nice to be right at the start of this project, and see it through to the end. My total project time was about 1 year and a few months.
Delivery
Responsible for the CG delivery of 255 shots, with remaining shots out of layout passed over to other units during the unit split. Supervised 90% of 73 complex assets, including modeling, texturing, look dev, CFX, groom, and rigging.
Methodology
Solely ran the "Assets / CFX Setup" show dailies, presenting work directly to the VFX Supervisor for final approval and feedback. The Flash had a high amount of digital double work with many variations. Often, with Barry appearing twice in the same shot, our digital doubles had to be of the highest quality. Hero performance shots were assisted by Scanline (Eyeline) and their new volume capture technology, while anything not requiring close-up work relied on our standard digital double workflow. The film also featured large-scale environments requiring recreation with destruction simulation.
Technical
This project spanned the full spectrum of VFX: complex facial and body tracking, full hero practical costume replacements, hero digital doubles, Supergirl's cape, and hero vehicle builds such as the Batmobile. It also included massive environments and set extensions. FX simulations ranged from heavy snow environments, waterfalls, fire and lightning bolt effects. The lighting department covered many scenarios, from day, night, snow environments, and a cloudy atmospheric sequences.
Planning
It was nice to be right at the start of this project, and see it through to the end. My total project time was about 1 year and a few months.
Role
Role
CG Supervisor
CG Supervisor
Client
Client
DC Studios
DC Studios
Vendor
Vendor
DNEG
DNEG
Location
Location
London
London
Year
Year
2023
2023
