Wonder Woman (2017)
Vehicles of Wonder Woman
A wonder-ful collaboration with Matte Painting, CGFX, 3D and Compositing brought a series of vehicles from the World War One era to life.
The Train Station
This is one of those great shots that went through without a hitch. We approached this 1914-1916 train station in compositing first.
Coming up with an animated matte painting technique, we were able to push the capabilities of still images to make this lifelike moment in time.
The Longest Train
A nearly 30 second Steadicam shot following Wonder Woman and Steve Trevor, starting from inside this fully computer generated train and walking out with countless extras.
This shot was a massive undertaking and it involved a whole team of artists to achieve this final shot of our heroes discussing their plan for the front lines.
The Not-so Fly By
An unlikely get away for Steve, this escape plan had an original camera move that was just not working.
After a creative back and forth figuring out which way he was banking and how far, this shot was rebuilt and reanimated in compositing to have Steve fly in the face of the original footage.
Into the Trenches
A place of mud, mortars and matte paintings
Muzzle Flashes, Smoke & Explosions.
This scene had all the action you would expect in a modern superhero movie.
In compositing we transported the actors back in time to trenches right outside of the small town of Veld.
We extended the wasteland in all directions to make this gloomy dead backdrop.
The Exploding Machine Gun
When it was decided that this poor mans machine gun would be hit with some kind of explosive, I was already compositing this shot.
Quickly mocking up an all in compositing explosion and nuke particle dust and debris setup, we decided to finish the shot with this approach.
Gun Shot Galore
Any movie set in World War One is bound to have a barrage of people being shot. To avoid the blood and gore in this scene, we stayed away from the action essentials approach and kept this scene with sparks, dust and a little added impact marks to show the damage without the red splats flying on profile in every shot.
Bio-Luminescent Water
Fluid simulation without all the caching time
Glowing Under Toe
Glowing water, is that really a thing? Turns out that it is. In this case it wasn’t plankton in the pool with Steve, but rather some great sim work from the FX department.
Along with some really nice compositing treatment and some interactive effect around the actor, we replicated this crazy real life effect.
The Naked Truth
Have I really seen Chris Pine naked? No of course not, he was wearing some tasteful undergarments on set.
It was my job to digitally remove those as well as extending the set by adding the amazonian rain forest outside the cave window.
The World of Wonder Woman
This cave looking out to the night set of Paradise Island was a stunning combination of matte paintings and CGFX waterfalls.
After building the projection setup as a moonlight night, I passed this off to a whole team to have this fantasy land look stunning in every shot.
Agent Orange
From and empty room to a deadly smoke filled death trap. (No actors were harmed in the filming of these scenes)
The Toxic Fumes
This actor got to rest easy as we used a full post production approach to filling this room.
CGFX simulated smoke was added in and tinted to be an evil orange hue.
We also added some interaction with the actors movements back into the elements to really sell that they were shot together.
Handle With Care
Along with the post smoke, the mask was digitally destroyed.
Corrosion patterns spreading we achieved in compositing and animated along the mask.
The lens was also cracked to really get the audiences hearts racing as they watched this poor prisoners fate unfold.
A Breath of Fresh Air
Another great example of matte painting, CGFX and compositing, pulling together to create some super suspenseful scenes.
A combination of 2D and 3D elements blended with the plate to tell the story, without committing to smoke on set.
Some more stills:
