Alongside many other CG weapons, Image Engine was tasked with creating the effects that brought the Epirus Bow to life and showed its magical power. This included the way in which the arrow of the bow materialized and fired. To create additional force, power trails were also added, which disturbed the environment as they flew towards the gates. The FX simulations were created in Houdini and rendered in 3delight. In addition to the weapons, CG limbs and arms were created where they are chopped off as Theseus fights his way through the battle scene towards King Hyperion, which involved significant digital gore.
Image Engine was tasked with augmenting live action plates featuring all manner of violent events such as stabbing, spearing, decapitation, slashing, severing of limbs, etc. Image Engine created a fully CG Hawk which was seen up close in several shots. Here, the goddess Athena transitioned from being camouflaged into her true form by lifting her magical cloak, which revealed itself out of nothing in a cloud of gold dust.
The goal was to create a fluid transform that looked like it was seeping into her body. Overall, this was challenging and rewarding show for everyone. In the show, Mia is seen arriving in Turkey via a coffin after she becomes a member of the undead, so there is like to be some different time zones coming into play.
Immortals was filmed on location in Istanbul with the vibrant Turkish city feeling like a character in its own right. A possible second season is likely to see the return of the majority of cast members from the first outing. Immortals is available to watch on Netflix now. This article contains affiliate links, which means we may receive a commission on any sales of products or services we write about. This article was written completely independently, see more details here. Immortals: Mia sets out to find vampire leader Dmitry.
We tailored everything about the film to maximize the stereo effects. However, shooting the film using conventional 2D cameras and creating the 3D effects in postproduction gave the director more control of the depth and dynamic range than would have been possible shooting in 3D. The key word was sculpture. We wanted the characters to look like they were really right there in front of you as opposed to on a screen.
For Singh, the technology proved an organic extension of the unique visual style he has developed over an award-winning career as a commercial and feature-film director. My shots tend toward tableaux, and I normally shoot longer masters, both of which are effective in 3D. The dimensionalization process can be slow and arduous, Stump acknowledges, but it brings big payoffs in the final product. But creating stereoscopic 3D content in postproduction gave us more control.
We could place anything anywhere we wanted. In fact, we not only could, we had to, because nothing lands in the right place accidentally. As Singh anticipated, 3D ultimately suited his inspired visuals perfectly.
The finished film has depth and volume never before seen on screen, according to Ken Halsband, executive in charge of production for Relativity Media.
We used the technology better this time, more painstakingly and artistically than it has been used before. Luminous and encompassing, Immortals raises the bar for stereoscopic effects in film. The 3D technology gave us an amazing opportunity to do that. The director envisioned them as idealized, larger-than-life creatures.
That had to be a factor in casting. All our fights are quite different. Those that pit humans against humans take place in real time. But when gods go up against humans, humans are revealed to be like putty. And at times, all three types of battle are taking place simultaneously.
We shot something like four days of plates to make it right for each perspective. The humans practically freeze, while the gods are like lightning. Galvin explains that the magic was created by changing the camera speed. Most people are familiar with high speed from sports events. You May Also Like.
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