![]() “The VFX mainly added volume with thousands of wights on the ice and up into the hill extensions,” said Bauer. Here, though, there were two brands of zombies: green screen wights that were 90% CG and 10% costume and prosthetic, and negative space wights (deformed and see through) that were 30% CG and 70% costume and prosthetic. In previous seasons, there have been a handful of wights (with a menu and design variety devised by El Ranchito). Director Taylor and the stunt team choreographed the fighting and the counteract when Dany (Emilia Clarke) comes to the rescue with her fire-breathing dragons. It gave the stunt team something to interact with.”Įl Ranchito (from Spain) upped its game considerably with the army of wights (re-animated corpses under the control of the humanoid White Walkers). “And Joe had a technique for supporting that by designing a frame of the polar bear that was built by the special effects team with a head on top and was piped for gas. ![]() “It also helped visibility quite a bit when he caught fire,” said Steve Kullback, lead visual effects producer. The little nuance of motion that tells you it weighs a thousand pounds, especially when it’s running on snow, is very hard to pull off.” We had to play with it a lot to come up with the sweet spot. “We also used the density of the snow and the air as a way of separating it from the blizzard. ![]() “Plus it had dried blood on its face and parts of the pelt had been torn away,” said Bauer. The fur was a combination of yellow and tan, but because the bear was in a blizzard, they played up the scare factor by not letting us glimpse the creature until it was a few feet away from the action. “And you needed to get enough of the familiar facial features so it didn’t look like a monster.” “And Wayne had the idea of also sizing up the skeletons, so that there was some explanation for the shape of it,” Bauer added. Then they had to be strategic with what they removed for the final model. The first thing they did was a series of turntables with a healthy, decayed, and dead polar bear, and reversed engineered the look with the addition of fur and fat. They don’t look like polar bears anymore,” said Joe Bauer, the lead visual effects supervisor. “In doing photo research on dead polar bears, they lose their fat layer and the fur mats and goes away. The trick was creating a convincing reanimated polar bear that still retained its basic look and behavior. For the first time, Weta Digital became involved in “GOT” to work on the bear (snagging its first Emmy nomination with Wayne Stables, the animation supervisor), and will play a much bigger role in Season Eight. Weiss have been trying to get into the series for several seasons. encounter the menacing zombie polar bear, which showrunners David Benioff and D. 3’ Says Goodbye to James Gunn’s Misfit Superheroes in the Bowie Spaceshipįirst, Snow & Co.
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