0 Crew Members
F. Gary Gray
Overall VFX Supervisors
Michael J. Wassel
Rodeo FX Crew
In the wake of successful collaborations with studio VFX supervisor, Kelvin McIlwain on Fast & Furious 7 and Central Intelligence, we partnered up once more for some of the most high-energy sequences in the latest installment of the popular franchise.
Our work on the Berlin sequence features digital environments, set extensions, matte paintings, CG cars, and effects simulations. We assisted with plate selection and our artists stabilized, warped, stitched and retimed backgrounds. We were responsible for the continuity of blue screen footage, including integrating footage of actors in vehicle rigs with background plates. We created a vast digital environment to extend and enhance the live-action, including adding Houdini fire simulations over practical flames.
Our artists helped augment the giant wrecking ball for the iconic sequence. We extended the wrecking ball environment with 3D architecture and digital matte painted backgrounds, removed the loader and inserted the digital wrecking ball. Keeping some cars from the plates, we enhanced the shot with extra CG vehicles flying up in the air and added debris and smoke. Our animators controlled the swing of the CG wrecking ball and our effects team wreaked destruction on the digital vehicles.
For the prison sequence, we created set extensions and added bullet impacts and stunt enhancements. We added a whole extra floor using a combination of projections and matte paintings, removed stunt rigs and replaced the heads of stunt performers in CG. We incorporated practical elements of muzzle flashes, bullet impacts and taser zaps. We simulated muzzle flash and taser highlights on the guards’ Plexiglas helmets and on their suits. We also did plastic bullet impacts on the prisoners, adding smoke dust and fake wrinkles on their suits.
Concealed behind a fish warehouse, we created set extensions for the high tech garage filled with luxury cars. The set was too large to be completely dressed, so we dressed it up digitally using projection-style matte painting that fitted most of the angles that were required. The closer you look in the distance, the more over the top it becomes.