Indeed, for years, a massive R&D project produced new tools and approaches to allow performance data capture at higher fidelity than in the past. I have been involved in building characters from scratch before, but never one that would be this close to being human who was the protagonist for the entire film.” “In, Eric was in New Zealand, but he and I worked together on set in Austin three years ago supervising getting the performance capture of and other actors,” Hollander says. The massive project moved forward as an intercontinental collaboration between Rodriguez’ production team at his headquarters in Austin, Texas, Weta’s headquarters in New Zealand, and Los Angeles. Hollander represented the production team at Lightstorm and supervised all facilities (Weta Digital, Dneg, and Framestore) while Saindon headed up Weta’s efforts to create a believable CG Alita (played and voiced by Rosa Salazar). That was the driving point for the whole film: how do you bring a humanoid CG character to life with live-action characters and still feel the heart and soul of the original manga?”
#Visual effects supervisors movie#
“He said the goal for this movie was to create the first live-action manga character brought to the screen in a realistic way. “When Robert and came to New Zealand for the first time, we sat in a conference room, and Robert pulled out his computer,” Saindon recently explained during a conversation he and Hollander had for the Podcasts from the Front Lines series. After all, they were being asked to head up an effort to produce from the ground up a believable, emotive, all-CG character who would be the lead in a 3D studio film, interacting with real-world actors and environments. Then, three years ago, with Robert Rodriguez at the helm and Cameron producing, the production finally launched, posing some of the most complex CG challenges either had ever faced. The film’s developmental life cycle had brought it in and out of their lives numerous times since they both first read the original script, based on a manga (Japanese comic) series, when James Cameron was planning to direct it back in 2005. VFX industry veterans Eric Hollander and Eric Saindon had been involved with the intriguing notion of producing visual effects for Alita: Battle Angel for literally decades when the opportunity finally arrived.
#Visual effects supervisors full#
Watch the full interview in the video above.Animating a lead CG character down to the smallest pores and strands of hair for the long-gestating manga-based film from director Robert Rodriguez was a task that took years for the Lightstorm team, WETA Digital, and other facilities. Additionally, they confirmed that no, Nolan does not have an email address. The two discussed the experience of working with Nolan, the IMAX format, working in tandem with the design team for Interstellar in order to integrate the in-camera practical effects, and which VFX sequence from another film in 2014 most impressed them. Last week Steve attended the Visual Effects Society Awards, and while on the red carpet he was able to speak with two of the folks from Double Negative who worked extensively on Interstellar: visual effects supervisor Paul Franklin and internal supervisor Andrew Lockley. There absolutely are, and Nolan has been working with the folks at the London-based VFX house Double Negative since Batman Begins, most recently enlisting the team to work on his most VFX-intensive film yet, Interstellar. Special effects sure, but Nolan’s ability to seamlessly blend the world of computer-generated visual effects with practical special effects is tremendous, and as a result so much of his films feels real and thus not too VFX-heavy.īut that’s not to say there aren’t a lot of visual effects in Nolan’s films. While large-scale films have now become synonymous with lots and lots of visual effects, that’s actually not the first thing that comes to mind when thinking about the visuals of a Nolan film. It’s no secret that Christopher Nolan makes big movies.
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