It is with great pleasure that I welcome again Deak Ferrand on The Art of VFX. During his last visit, we had explained the work of Hatch on THE BOOK OF ELI. He has since worked on films like THE TWILIGHT SAGA: ECLIPSE, THE DICTATOR or UPSIDE DOWN.
How did Hatch get involved on this show?
We had worked with both Greg Baxter (VFX Producer) and Hoyt Yeatman (Production VFX Supervisor) on several previous shows.
How was the collaboration with director Bryan Singer?
We never met or spoke to the director on this show!
What was his approach with the visual effects?
For us, everything went through Hoyt, and was painless!
Can you tell us more about your collaboration with Production VFX Supervisor Hoyt Yeatman?
As I have mentioned, we had worked with Hoyt on several shows, he is one of the best supervisors around! He is very clear when giving direction and allows the artist his space to create- We love Hoyt!
What have you done on this show?
We linked two areas of Gantua and created the center of the island.
How did you approach the concept aspect of this show?
Hoyt gave us a brief and once we presented our first concept we were in the right direction.
What references and indications did you received from the production for Gantua?
We received some early preproduction sketches and anything we needed from MPC to achieve our work. We came later in post on this show.
Can you tell us in details about the matte-painting creation?
We generated matte paintings that bridged the gap between MPC’s environment at the border of the floating island and Digital Domain’s interior terrain. We had a plate of Ewan McGregor kneeling in front of a cross a Stonehenge type environment facing a green screen. We added mountains, sky and trees, and produced two matte paintings in stereo. We used scenic elements that I captured on my Canon camera and layered those with elements of mountains onto approximately 100 cards, and then we subcontracted the stereo compositing. I did all my painting in Photoshop, generated geometry in Maxon Cinema 4D, and then we did all the compositing for right- and left-eye cameras in Nuke.
What was the real size of the sets?
It was shot on an outdoor set with a huge green screen.
How did you manage the stereo aspect of the show?
We subcontracted the 3D out to Rusty Ippolito of Make FX a very talented 3D artist and compositor.
What was the biggest challenge on this project and how did you achieve it?
Working with exr files and a first for us in stereo.
Was there a shot or a sequence that prevented you from sleep?
No, not on this show!
What do you keep from this experience?
A pleasure working with a team that we enjoy working with!
Can’t wait for the next one!
How long have you worked on this film?
October 2011 through April 2012.
How many shots have you done?
What was the size of your team?
Just Rusty and me.
What is your next project?
Working on several, some that can’t be mentioned……
THE SECRET LIFE OF WALTER MITTY, THE SELECTION, a commercial….. and more coming!
A big thanks for your time.
// WANT TO KNOW MORE?
– Hatch: Dedicated page about JACK THE GIANT SLAYER on Hatch website.
// JACK THE GIANT SLAYER – SHOT BREAKDOWN – HATCH
© Vincent Frei – The Art of VFX – 2013