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Movie Infos

Release Date: February 12th, 2016

Client

Director

Tim Miller

Distributor

20th Century Fox

Overall VFX Supervisor

Jonathan Rothbart

Rodeo FX Crew

VFX Supervisor

Wayne Brinton

VFX Producer

Annie Cliche

CG Supervisor

Thomas Hullin

Compositing Supervisor

Martin Lipmann

We worked on complex sequences that required fire and embers, grotesque skin alterations, and set extensions for Tim Miller’s R-rated depiction of the Marvel Comics anti-superhero.

We began working on the movie before production, helping to produce an amusing promo for April Fool’s, when the studio announced that Deadpool was going to have an R rating. Once shooting began, we were tasked with 100 shots, which grew to be almost 230 shots on two scenes over the course of post-production.

Our team did concepts for skin decomposition at different stages, using time-lapse photography of rotting vegetables and meat for inspiration. We found the production plates too dark to show the subtleties of what we wanted to do, so we added more detail and shape to the skin, modeling with ZBrush, doing lighting passes, and finally compositing in the textures.

The scene where Wilson is held in a torture chamber and then escapes was shot continually in one room that had been fitted with gas pipes emitting flames, making the usual practice of submitting individual shots for approval inefficient and awkward. Instead, our team asked to submit the finished sequence in its entirety to Rothbart. This meant that every shot in the submitted sequence had to be final, with all shots at the same level of quality. This was the most efficient way to complete this scene.

The other main sequence that we worked on was a post-disaster scene in which a ship crashes, creating a junkyard of smoldering parts. The scene was shot against a green screen and then we generated set extensions for the junkyard, composited a matte painting that Blur Studio shared with us, and added smoke and ashes. We produced additional matte paintings based on photos of the set taken during production. We added lots of smoke and ashes at the beginning of the scene when everything is crumbling down, then reduced the intensity as the scene progressed. We aimed for a choreography of simulated ash, falling in 3D space. It’s seemingly minor elements like this that ensure the continuity and believability of a scene like this.

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