Those plates plus additional blood plates, which we already had in our library, were used in comp to create all the blood. We wanted to keep everything related to blood inside comp to be able to react quickly to client feedback.Īlongside the SFX department, we shot blood splatter plates in front of a green screen, with blood splattering around from different angles. We had to complete 529 shots in 20 weeks, so we needed fast solutions for everything. Dealing with bloodĭue to timing, we decided to not use sim’d blood. Lighting/shading/rendering happened in 3ds Max using V-Ray, and the final comp was done again in Nuke. In some shots, we opened their mouths much wider than a real human could do it. We 3D tracked the heads of the actors with the stage three scan, copied those transformations onto our extended stage three head model, and used the resulting differences between the models in the comp department to drive the distortion inside Nuke to widen the eyes.įor the CG replacements of the lower parts of the face, our animators roto-mated the original facial performance of the actors in Maya and then exaggerated those movements. Our senior comp artist, Tim Klink, came up with a method that enabled us to widen the eyes directly in comp in a very short time. In the grand tradition of Deep Rising and From Dusk Till Dawn, Peter Thorwarth’s Blood Red Sky is a hijacking thriller that at. Our modelling department used those scans as a basis to model the widened eyes and bigger jaws. We had 3D scans of the actors’ faces without any SFX make-up, with fully applied stage three SFX make-up, and 3D scans of the concept design busts from the SFX make-up department. Finding the right balance of how far we could go with our face changes was a process that took a couple of weeks of going back and forth. We needed to bring something supernatural into the faces, where the audience gets a feeling that there is something non-human, but they can’t really tell what it is. And then, well… See for yourself.Our briefing for the face extensions was to change the actors’ specific characteristics, but not to destroy their original performance while changing their faces, and to not destroy the great designs of the SFX make-up department. All they need is time to get it done, and everything’s going fine when Evil Steve Zahn shoots Nadja and kidnaps her son. What could go wrong in 8 hours? Enter Dominic Purcell, never a good sign.ĭominic, who is not the vampire this time, has a crew and a job. Don’t worry, she’s got meds and a doctor who promises a cure in New York. Maybe that’s why Nadja brought her 9yr old son on a transatlantic flight even though she has a… condition. Netflixs high-flying supernatural thriller Blood Red Sky is a tightly-told story about a group of plane hijackers whose plan goes off the rails when one of the passengers reveals. Even blood-sucking fiends seem less daunting when compared to the mortal terror of air travel. Netflixs vampires-on-a-plane thriller Blood Red Sky sets up an intriguing supernatural world that deserves a deeper dive in Blood Red Sky 2. I don’t even like to ride in the passenger seat of a car, so hurtling through the air at 550mph in an aluminum can 42,000 feet above the ground provokes mild panic best treated with Dramamine and bourbon. But that was only the paranoia icing on a cake made of 2 parts acrophobia and 3 parts being out of control of my own fate. I hadn’t come home yet when the towers fell and when I did it was through airports filled with soldiers armed with M-16s and attack dogs. No joke, I flew for the first time 10 days before 9/11.
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