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  • You simply can't make a superhero film without relying on the work of visual effects artists

  • to some degree, but the level of reliance in the modern age has reached heights that

  • it can be difficult to really understand unless you see the original footage with your own

  • eyes.

  • Christopher Nolan is known for taking a practical approach to effects whenever possible, but

  • even he turns to the VFX team from time to time.

  • Visual effects co-supervisor Dan Glass revealed that the movie had nearly 600 effects shots.

  • One of the most challenging jobs that Glass and his partner Janek Sirrs faced was making

  • the Batmobile look convincing, which they achieved through a mixture of trick shots

  • and miniatures.

  • The "miniatures" they created weren't actually that mini at all: they made a three quarter-scale,

  • five-foot Batmobile.

  • Glass explained:

  • "The key with miniatures is scale, and Janek pushed hard to use large miniatures.

  • Some were 35 feet tall."

  • UK-based visual effects house Double Negative completed half of the 600 effects shots in

  • the movie, and it was nominated at the Visual Effects Society Awards for its efforts.

  • So, what do you think?”

  • Does it come in black?"

  • Keanu Reeves' relationship with the Hollywood press has always been love-hate.

  • 2005's Constantine was one of the hate moments, as the majority of movie critics bashed the

  • supernatural DC flick.

  • The film suffered from a fundamental changes deep into production, according to Deak Ferrand,

  • Hatch FX co-founder and lead matte painter.

  • He explained:

  • "We began working on Constantine in April of 2004, the original delivery was set for

  • the end of July.

  • However, in mid July as we were finalizing the final composites, there was a drastic

  • change in direction, which resulted in starting a new concept phase."

  • Fans of Green Lantern first started to worry about the adaptation when they discovered

  • that Hal Jordan's suit was to be made entirely from CGI so that the VFX teams would have

  • some "flexibility" with the design.

  • Ryan Reynolds wore a tracking suit, and all the effects were added in after filming.

  • "So how they did that was using a motion capture suit, which has all these dots and you look

  • like a crash test dummy.”

  • In the end the suit itself was passable, but the unnatural-looking mask wound up ruining

  • the overall effect.

  • While many people pointed to the substandard CGI, Reynolds blamed the script for the film's

  • failings, revealing that it hadn't even been written when he signed on to star.

  • He told Yahoo!:

  • "When we shot Green Lantern, nobody auditioning for the role of Green Lantern was given the

  • opportunity to read the script, because the script didn't exist."

  • In the end, most audiences had the same reaction.

  • "Ah!

  • Green!"

  • Three years after debuting as the Man of Steel, Henry Cavill was back in the red cape and

  • facing off against Ben Affleck's Batman.

  • According to Scanline's VFX supervisor Bryan Hirota, director Zack Snyder came to him with

  • an idea for a montage that showed Superman saving people all over the world, which he

  • wanted to intercut with news stations debating whether or not the Kryptonian was welcome

  • on earth.

  • Henry Cavill was digitally dropped into numerous dangerous situations and natural disasters,

  • one of which was a huge flood.

  • While the finished product looks pretty convincing, it turns out it was shot on an asphalt backlot

  • in Michigan.

  • Hirota told Art of VFX:

  • "In post we used our flowline software to simulate the river and debris going around

  • the houses.

  • We extended the environment with added extra houses, trees and distant mountain ranges."

  • After that, it was a simple matter of dropping Superman into the mix, and just like that

  • you have a disastrous flood.

  • It bombed hard with critics, but DC's anti-hero ensemble Suicide Squad still made a ton of

  • money.

  • A lot of visual effects went into the film, so much that the load had to be divided between

  • 17 different VFX houses.

  • One such company was MPC, whose workload included Harley Quinn's elevator fight scene.

  • MPC visual effects supervisor Seth Maury told Art of VFX:

  • "Plates were shot of Harley fighting with a practical actor...Our goal was to replace

  • the heads on these practical actors so that the eyes on the head were alive and blinking

  • during each shot, and so that the head breathed and pulsed."

  • Maury revealed that his favorite part of the sequence was "blowing up" these heads, every

  • one of which was unique down to the last detail.

  • The DC Extended Universe was given a breath of fresh air with Wonder Woman.

  • The film looked great, thanks in no small part to the work of effects companies like

  • MPC, who contributed around 500 visual effects shots.

  • Led by VFX supervisor Jessica Norman, the MPC team helped create the epic beach battle,

  • the no man's land sequence, and several other action scenes.

  • The company's website reveals:

  • "The beach battle sequence was shot on the west coast of Italy, across two beaches.

  • MPC's environment artists extended the beach and added cliff backdrops...Cliffs and islands

  • were lit and rendered by MPC's lighting team."

  • MPC also developed, quote, "new controls for hair simulations to be able to maintain the

  • shape and style of Wonder Woman's hair in these action packed scenes."

  • There was a time when an actor's hair was the responsibility of makeup alone, but in

  • the age of superhero blockbusters, every strand is subject to scrutiny from the visual effects

  • department.

  • While it might not have lived up to the standard set by Wonder Woman, Justice League still

  • fared better with the critics than the first three films in the franchise.

  • The movie seemed destined to fail after Zack Snyder left the project before the shoot was

  • done.

  • Marvel stalwart Joss Whedon stepped in to finish the film, but the result was a hodgepodge

  • of styles that didn't work as well as Warner Bros. might have imagined.

  • The film's visual effects would become a huge talking point, especially when it was revealed

  • that Warner Bros. was forced to digitally remove a mustache that Henry Cavill had grown

  • for Mission: ImpossibleFallout, because Paramount refused to let him shave it for

  • Justice League reshoots.

  • "It comes and goes."

  • Some of the GCI on Cavill's upper lip was downright awful, with his mouth looking particularly

  • deformed in the film's opening moments.

  • An unnamed Justice League VFX artist said:

  • "It shouldn't have been approved internally let alone gone all the way to make it into

  • the film."

  • Well, you know what they say about mustaches:

  • "Easy to lose, but if you dig around, it's usually close by."

You simply can't make a superhero film without relying on the work of visual effects artists

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これらのDC映画は、特殊効果なしでどのように見えるか (What These DC Movies Look Like Without The Special Effects)

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    Winnie Liao に公開 2021 年 01 月 14 日
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