![]() ![]() ![]() Luckily, Ben Morgan (lead compositor on the chase sequence) and I are total bokeh nerds, so it was a great chance to get into the subtleties of how bokeh really works. We were lucky enough to have time at the beginning of the project to look-dev the lens smearing and the bokeh so we could seamlessly integrate our VFX elements. SIGGRAPH: We love your description of taking “cues from ‘70s noir crime thrillers” translating into a “brooding, ominous tone” for “The Batman.” Tell us more about how this influenced Wētā FX’s approach and tools selection.īV: It was having to match Greig Fraser’s stunning photography that really governed our treatment of our VFX work. ![]() I assisted in supervising previs for “The Adventures of Tintin” in 2012 and starting supervising animation in 2016. ![]() Supervising has been a great experience so far - being able to work with people, not only to create amazing looking shots, but to also encourage and challenge my team, has been the highlight of my career so far.ĭennis Yoo (DY): I started at Wētā FX in 2003 as creature animator for “Lord of the Rings: The Return of the King.” I’ve been animating and creating previs for most of my career at Wētā. The second film I ever worked on was Christopher Nolan’s “Batman Begins,” working on the car chase! I started work at Wētā FX at the beginning of the first “Hobbit” film at the beginning of 2012, and “The Batman” was my first project as a compositing supervisor. I managed to get my chance to get into VFX in 2004, when I faked a holiday in a different state to get an interview at Rising Sun Pictures. The more I investigated compositing, the more it seemed a good fit for me. Meetings, reports, and school politics made me stop and reassess my options. I loved the classroom but did not love the support work you need to do to teach. I studied to be a secondary school art teacher, and I quickly realized I loved teaching but was not a good fit for schools. I figured out that I am a visual problem solver, and it took me two careers before visual effects (VFX) to figure out that compositing was what I was looking for. SIGGRAPH: Briefly tell us about your career and current role at Wētā FX.īeck Veitch (BV): I always wanted to work in a field that challenged me. Compositing Supervisor Beck Veitch and Animation Supervisor Dennis Yoo presented their work to great accolades during a Production Session at SIGGRAPH 2022. Wētā FX’s work includes striking scenes in Gotham City, the Batmobile launching through flames in a chaotic car chase, and a novel approach to lensing and in-camera effects. “The Batman” is the 19th appearance of the Caped Crusader in film and, as such, director Matt Reeves needed to find a new angle for the titular hero. ![]()
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