{"id":8345,"date":"2013-05-06T14:00:16","date_gmt":"2013-05-06T13:00:16","guid":{"rendered":"http:\/\/www.firedbydesign.com\/?p=8345"},"modified":"2016-07-01T11:10:06","modified_gmt":"2016-07-01T10:10:06","slug":"framestore-delivers-red-hot-vfx-for-iron-man-3","status":"publish","type":"post","link":"https:\/\/firedbydesign.com\/?p=8345","title":{"rendered":"Framestore delivers red hot VFX for Iron Man 3"},"content":{"rendered":"

\"631e0b\"
\nIn just eight weeks Framestore delivered 113 shots for Iron Man 3, working on the titular hero himself and helping set the look for one of the movie\u2019s key effects \u2013 Extremis.<\/p>\n

Directed by Shane Black, Marvel\u2019s third big screen instalment of the Iron Man series sees Tony Stark\u2019s world destroyed at his enemy\u2019s hands.\u00a0 What follows is no story of politics, \u201cjust good old-fashioned revenge\u201d as Stark puts it.<\/p>\n

Extremis is a drug that confers formidable strength, but gets red hot as it rushes around the body, visibly steaming as it flows through veins and arteries deep below the skin. Much of Framestore\u2019s work on the film came in perfecting the Extremis look for the skull, but other shots required a digital takeover for one of Iron Man\u2019s enemies and the creation of a full CG fire. To do all of that under the constant flux of the edit and on such a small timescale was a considerable achievement. \u2028\u2028\u201cThe whole team was super motivated by doing Iron Man\u201d said CG Supervisor Alexis Wajsbrot.<\/p>\n

\"631e0wb\"<\/p>\n

After finishing work on Alfonso Cuar\u00f3n\u2019s eagerly anticipated space epic, Gravity, Wajsbrot described the film as a smooth process. \u201cWe were given the Iron Man asset from Digital Domain and within a week had it looking great in our pipeline\u201d added Producer Richard Graham. \u201cPart of the legacy of Gravity is that all of our Arnold shaders for metals and hard surfaces are really well matured, and there were no difficulties in look development.\u201d<\/p>\n

“We\u2019d got well into the Extremis work before we started on Iron Man\u201d explained Lighting Supervisor Stuart Penn. “There was a lot interactive lighting between him and the Extremis effect \u2013 at one point the enemy grabs him and heats up the suit \u2013 so we see\u00a0 heat glow and sparks as the suit is short-circuited. The level of interaction needed the track of the arm to be really good.”<\/p>\n

Other facilities had already worked on the effect of Extremis on limbs, but many of Framestore\u2019s shots focussed on the skull, which required a great deal of look development.\u00a0 According to the team, Framestore\u2019s skull shots seem to have set the look for the effect across the film.\u2028\u2028\u201cThe work by other facilities had been done on the arms where there was quite a bit of structure to play with \u2013 for example silhouetting the bones and making light wrap around them\u201d said VFX Supervisor Mark Bakowski. But whereas the arm was anatomically accommodating, the skull was less obliging. \u201cFinding that formula was the most difficult part,\u201d continued Bakowski, \u201cthe skull is very densely packed and we had to thin that out a little bit to sell it.\u201d<\/p>\n

“A lot of work went into making Extremis visually appealing\u201d said Lead Compositing Supervisor Chris Zeh. \u201cIt went through a lot of different concepts and it was nice to hear that our Extremis effect seems to be, out of all the facilities working on it, the one Marvel sent to the others.\u201d<\/p>\n

Stripping back from a dense, anatomical skull – which would simply look like a light bulb if illuminated – toward something more art directed, the team arrived at an effect that was both believable and interesting. Penn explained: \u201cThe main brief was to make it look as if it had volume, as if you were looking deep into the body, not like a something painted on the skin.\u201d<\/p>\n

\"w631e0b\"<\/p>\n

To ensure this was achieved, the whole anatomy of the characters was modelled \u2013 from skeletons and muscles right down to blood vessels and capillaries, which resulted in some super heavy rigs. This was addressed by setting up a pipeline that meant each element could be dealt with separately. It was also a big task to deform such an amount of geometry, so Framestore developed its own deformer to make sure everything would fit inside the skin.<\/p>\n

\u201cAfter rigging and modelling we moved onto tracking, which was a big challenge as there was body and facial tracking in every shot\u201d explained Wajsbrot . \u201cWe started with camera track, body track and facial deformation, using 3DEqualizer. The trackers did amazing work in a very short space of time. The team was quite small yet they tracked over a hundred shots!\u201d<\/p>\n

From there the FX team began controlling the movement of Extremis by flowing particles along the veins and arteries. \u201cThis was very choreographed and art directed, so it wasn\u2019t easy!,\u201d said Wajsbrot. \u201cWe needed to have full control on particle speed, flow and direction. That was a set-up done in Houdini by Selcuk Ergen [Lead FX TD] and his team. By the end of the show it was just pressing buttons \u2013 it was very successful.\u201d<\/p>\n

The flow of Extremis is so hot it emits steam, something created by the Maya team, led by Horacio Mendoza, using a fluid simulation. \u201cThe challenge was the deadline\u201d said Wajsbrot , \u201cIt was maximum two days per shot for the steam, so we had to have a very strong set up in order to do fast simulation.\u201d<\/p>\n

Lighting obviously played a huge part in revealing the depth Marvel were after. Point clouds were used to drive lighting internally beneath the skin, which was refractive, so the deeper beneath the skin the light was, the blurrier it was.\u2028\u2028 Another of the main challenges Framestore had to face was to be able to reproduce the Extremis effect on four different characters and seven different sequences. The full capacity of the Framestore pipeline was used to create a small factory so that, just by just pressing a few buttons, FX TDs and Lighters were able to update their shots if the model, track or even the look was changed.<\/p>\n

Framestore used its propriety solver, Flush, to create the long simulation for the fire, which needed to interact with a character walking through it. \u201cIn that shot the person is practically full CG, except for the clothes, hair, teeth and lips, we rendered everything, so it\u2019s a full body-track\u201d revealed Wajsbrot. \u2028\u2028In less than two weeks Framestore also completed a digital double takeover for one of the main villains, replacing their entire body in CG from the moment they are shot to the moment they hit the ground. The scene also required some further regeneration work and a few finishing touches to \u2018make sure they looked evil enough to deserve being shot\u2019.<\/p>\n

“This is the second time I’ve worked with\u00a0Framestore, and again, it was an absolute pleasure,\u201d said Overall VFX Supervisor Chris Townsend. \u201cThey have a truly talented group of artists and a dedicated production team and, from the outset, I was impressed with not only their creative solutions, but also attention to detail and the overall quality of work.”<\/p>\n

Visit Framestore<\/p>\n

See more work by Framestore on Fired By Design <\/a><\/p>\n

Visit official Iron Man 3 website<\/a><\/p>\n

Credits<\/em><\/strong><\/address>\n
Iron Man 3
\nA Marvel Studios Production, in association with Paramount Pictures and DMG entertainment.
\n<\/span><\/em><\/address>\n
<\/em>Director Shane Black
\nProducers Kevin Feige
\nVFX Supervisor Chris Townsend<\/span><\/span><\/em>VFX Framestore
\nVFX Supervisor Mark Bakowski
\n<\/span><\/em><\/address>\n","protected":false},"excerpt":{"rendered":"

Framestore delivered 113 shots for Iron Man 3 in eight weeks, working on the titular hero himself and helping set the look for one of the movie\u2019s key effects \u2013 Extremis.<\/p>\n","protected":false},"author":129,"featured_media":8351,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2855,68],"tags":[2614,2040,2619,2613,849,607,2617,2609,2618,2615,2610,2616,2612,2611,205],"class_list":["post-8345","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-visual-effects-projects","category-vfx-projects","tag-alfonso-cuaron","tag-cg-supervisor","tag-chris-townsend","tag-constant-flux","tag-digital-domain","tag-framestore","tag-gravity","tag-iron-man-series","tag-pipeline","tag-shaders","tag-shane-black","tag-skull","tag-space-epic","tag-stuart-penn","tag-vfx"],"yoast_head":"\nFramestore delivers red hot VFX for Iron Man 3 - Fired By Design<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/firedbydesign.com\/?p=8345\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:title\" content=\"Framestore delivers red hot VFX for Iron Man 3 - 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