{"id":274,"date":"2009-05-07T08:20:41","date_gmt":"2009-05-07T08:20:41","guid":{"rendered":"http:\/\/www.firedbydesign.com\/?p=274"},"modified":"2017-04-28T10:58:38","modified_gmt":"2017-04-28T09:58:38","slug":"luma-wolverine-climax","status":"publish","type":"post","link":"https:\/\/firedbydesign.com\/?p=274","title":{"rendered":"Wolverine ends with a bang"},"content":{"rendered":"<p>Luma Pictures created 125 vfx shots for X-Men Origins: Wolverine, including a full CG environment for the film\u2019s dynamic climax<!--more--> and <a href=\"\/?p=276\" target=\"blank\"> CG doubles of the cast <\/a>.<\/p>\n<p>The majority of Luma\u2019s vfx shots appear in the concluding \u2018Aftermath\u2019 sequence, which takes\u00a0 place within a destroyed nuclear reactor. Luma created a computer generated environment for the facility, as well as the huge assortment of dust, debris and other atmospherics that accompanies the mayhem.<br \/>\n<img data-recalc-dims=\"1\" decoding=\"async\" class=\"aligncenter size-full wp-image-307 lazyload\" title=\"vfx_181_265_hero0005\" data-src=\"https:\/\/i0.wp.com\/firedbydesign.com\/fbdimg\/HLIC\/87bf67d2d6fe20fb060e7f0ec37da589.jpg?resize=300%2C169&#038;ssl=1\" alt=\"vfx_181_265_hero0005\" width=\"300\" height=\"169\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 300px; --smush-placeholder-aspect-ratio: 300\/169;\" \/><\/p>\n<p>Luma went to great lengths to make the 3D environment look real. \u201cWe flew a crew to Sacramento to photograph decommissioned cooling towers and industrial complexes as reference for our 3D replicas,\u201d recalls Luma VFX supervisor Vince Cirelli. \u201cWe also analyzed reference material of large structures that had been demolished to better understand how certain building materials fracture under stress. Those elements helped us to create a believable, post-apocalyptic environment that provides the stage for the final minutes of the film.\u201d<br \/>\n<img data-recalc-dims=\"1\" decoding=\"async\" class=\"aligncenter size-medium wp-image-308 lazyload\" title=\"wolverine01\" data-src=\"https:\/\/i0.wp.com\/firedbydesign.com\/fbdimg\/HLIC\/e8c75535545d372647b03d6b94c9172c.jpg?resize=300%2C169&#038;ssl=1\" alt=\"wolverine01\" width=\"300\" height=\"169\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 300px; --smush-placeholder-aspect-ratio: 300\/169;\" \/><br \/>\nActors were shot on green screen and were then integrated into multiple 3D environments. Luma artists had to make subtle adjustments to the lighting, shading and colour tones of the real actors to ensure they reflected the light from the digital environments.<br \/>\n<img data-recalc-dims=\"1\" decoding=\"async\" class=\"aligncenter size-medium wp-image-309 lazyload\" title=\"wolverine03\" data-src=\"https:\/\/i0.wp.com\/firedbydesign.com\/fbdimg\/HLIC\/42af30176ca24813ef5935aadcd02085.jpg?resize=300%2C169&#038;ssl=1\" alt=\"wolverine03\" width=\"300\" height=\"169\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 300px; --smush-placeholder-aspect-ratio: 300\/169;\" \/><br \/>\n\u201cIt required articulate rotoscoping and various keying techniques to skew the tonal range-a delicate balance that, if not handled correctly, could have made the actors look processed or compy,\u201d Cirelli notes. \u201cAs a further complication, the 3D environment into which the actors were being comped was going through continual refinement through the very end.\u201d<\/p>\n<p>A multitude of live and digital elements made it difficult to maintain visual continuity in the complex shots. Luma produced a number of \u2018tent-pole\u2019 composites to provide a reference for colour, lighting and shading values, but as the sequence was constantly evolving, there was a repeated need to refine the look. \u201cWe were frequently required to apply significant changes across the entire sequence of 100-plus shots for the purpose of studio screenings,\u201d recalls digital effects supervisor Justin Johnson.<\/p>\n<p>VFX producer Steve Griffith added that Luma met the challenge by relying heavily on Assimilate&#8217;s Scratch playback and colour grading system for real time adjustments during client review sessions.<\/p>\n<p>For more info visit <a href=\"http:\/\/www.lumapictures.com\/\" target=\"blank\">Luma Pictures<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Luma Pictures created 125 vfx shots for X-Men Origins: Wolverine, including a full CG environment for the film\u2019s dynamic climax<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7,68],"tags":[24,37,2942],"class_list":["post-274","post","type-post","status-publish","format-standard","hentry","category-inspiration","category-vfx-projects","tag-3d","tag-film-production","tag-vfx-projects"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - 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