164 Shots

60 Crew Members

Project Info

Release Date: July 25th, 2014



Luc Besson



Overall VFX Supervisor

Nick Brooks

Rodeo FX Crew

VFX Supervisor

François Dumoulin

VFX Producer

Marie-Cécile Dahan

CG Supervisor

Mikaël Damant-Sirois

Luc Besson is a big car chase fan and this film is no exception. Lucy, who doesn’t have a permit and has never taken the wheel before, fearlessly pilots a car in a stunning car chase, tearing through the streets of Paris and creating massive pileups along the way.

Our VFX Supervisor François Dumoulin was on set for the shoot and our team generated a 3D previs. Besson wanted more cars, more action and more crashes, which meant adding CG cars and enhancing a total of 70 car shots. Our artists modeled, animated, textured and integrated the CG cars in the streets of Paris using various shooting elements. The Lidar scan of the streets and locations provided by 4DMax was essential for positioning and integrating the CG cars in their environment. The 3D spatial data capture allowed for realistic driving, as the CG cars were anchored to the streets, reacting to every single bump of the road, just as if it was there for real. 

The numerous photos taken by our DP, Robert Bock, were extremely useful for the compositing of the 3D cars. The reference pictures and HDRI’s helped make the integration imperceptible, as they provided essential information for the lighting and also the reflections on the cars. The result of all these steps and efforts is a frantic and adrenaline-pumping scene that features plenty of cringe-worthy crashes.

Our team was also in charge of the mobile rays sequence and Lucy’s supernatural x-rays vision, both of which involved considerable conceptual and design work. Our motion graphics department was put to the task of defining a look that would illustrate the signals emitted by the mobile devices. An interesting challenge, since the effect needed to be visible in extreme wide shots and in close-up shots as well. As for Lucy’s x-ray vision when she is at the hospital, it needed to be organic and fluid, and ended up being quite complex. Added during post-production, this shot had to carry the idea that Lucy had the ability to see through walls.

Our artists also enhanced an urban landscape of the city of Taipei seen through a window, for a sequence that was shot on green-screen. Lidar scans were used once again to position the window in space, and also to create the reflections of the room.









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