Adverti horiz upsell
VFX Legion Completes Effects for ‘Superfly’ Remake
Magazine/News Books
VFX Legion Completes Effects for ‘Superfly’ Remake
SJ Golden 232 views  Rating:
(0 ratings)

 

***PLEASE SEE EMAIL SENT to SUPPORT@HIGHEND3D.com- REGARDING ISSUES + INCLUDING VISUALS 

 

Producer Joel Silver and Director X Call on the LA Studio to Tackle 100+ Shots Designed to Amp Up the Impact of the Raw Violence in Sony’s Reboot of the Iconic ‘70’s Film

/953f592c5b

VFX Legion created over 100 digital effects for ‘Superfly,’ Sony’s highly anticipated remake of the iconic ‘70’s Blaxploitation film. The deadline was only five weeks away, and the visual effects for key action sequences had yet to be assigned when producer Joel Silver and Director X brought the LA studio onboard. Legion’s team was tasked with producing a complex mix of shots designed to heighten the visual impact and visceral feel of the violence in the film’s two pivotal shootout scenes.

The reboot of ‘Superfly’ puts a modern, stylish spin on the original 1972 film about a Harlem drug dealer trying to score one last deal before getting out of ‘the game.’ Set in present-day Atlanta, the Mecca of today’s popping music scene, the action is driven by a hip-hop soundtrack curated by Future. The city’s distinctive style is the backdrop for a new generation of affluent, extravagant drug kingpins that takes violence to the extreme.

VFX Legion’s founder, CD and senior visual effects supervisor, James David Hattin, and VFX producer, Nate Smalley, stepped into the project during an edit session where they were brought up to speed by Silver, (The Matrix Trilogy, 'Lethal Weapon' series, 'Die Hard,' 'Predator,') director, music-video auteur, Director X, a.k.a. Julien Christian Lutz, ('Across The Line,' Mister Tachyon;Usher, Kanye West, Jay-Z, Drake, Justin Bieber, Nicki Minaj) and rapper, producer, Future.

“Joel Silver is a very hands-on producer, renowned for his work in the action film genre,” says Hattin. “He had a very particular vision of how he wanted the visual effects to augment the footage. Nate and I left the session with a clear understanding of the digital assets that the movie required.”

The mix of visual effects that Legion produced for the two main shootout sequences in ‘Superfly’ magnify the intensity of the carnage during these face-offs and brings home the ferocity and violence at the core of the film.

“Joel wanted to capture the ‘big’ feel of the 1999 'Matrix' film,” says Hattin. “To take the shoot-out scenes to that extreme, we created thousands of digital particles flying from bullet hits and blasts of debris that tore the drywall to shreds.”

Legion’s Houdini artist, Eric Ebling, created numerous simulations of debris from the walls that blended with the look and texture of the practical footage. These caches were lit and rendered in Redshift, and then integrated into the scenes. Muzzle flashes were digitally created to heighten the impact of the violence in a number of scenes.

 

The studio's team augmented squibs from bullet hits with computer-generated blood that streams out of wounds, puddles on the floor and splatters in realistic patterns. Residue left by the squibs was digitally removed.

During the production of ‘Superfly,’ a number fires were shot on-set that ended up being used as starting points for the much larger and more dramatic CG blazes that Legion’s team designed. Nick Guth and Dan Short, two of the studio’s lead compositors, created the wall of fire that the main characters run through, followed by the rival gang leader jumping through the flames in pursuit - all with the help of digital effects.

Layering in multiple stock photographs of fire elements and 3D tracking of the camera in Syntheyes, enabled the company’s Nuke artists to produce shots with a photorealistic look and seamlessly sync them with the footage.

“Legion’s team was thrilled to have the opportunity to work on Sony’s remake of ‘Superfly,'” says Hattin. “Our enthusiasm for the project, along with our experience, efficient pipeline, and technical ingenuity, enabled us to turn the large workload of shots around well ahead of schedule, leaving time for us to take on some additional work on the movie.”

“The visual effects that VFX Legion created were all about amplifying the impact of the violence captured with practical footage and intensifying the spectacle of the film to achieve the look that the director and producer envisioned,” adds Hattin.

About VFX Legion:
VFX Legion is a Burbank-based company specializing in providing episodic television shows and feature films with high-quality visual effects that get the most out of every budget.

Launched in 2013 with a pioneering pipeline at its core, founder, CD, senior visual effects supervisor, James David Hattin, and the studio’s veteran management team, support staff, and collective of 70+ skilled VFX artists work as an efficient unit, meeting the challenge of high shot counts and tight deadlines for multiple projects with ease.

Legion’s TV work includes series, such as ‘How to Get Away with Murder,’ ‘Madam Secretary,’ ‘Suits,’ ‘El Chapo,’ ‘Eye Candy,’ ‘Revolution, and ‘Gone,’ to name a few. ‘Hardcore Henry,’ ‘Sinister 2,’ ‘The Purge: Election Year’ and ‘The Purge: Anarchy’ are among the studio’s film credits.

VFX Legion is currently readying to begin work on its fourth season of the Shonda Rhimes’ series, ‘How to Get Away with Murder’ while wrapping up effects created for the highly anticipated hundred-million-dollar epic film, ‘Asura,’ and beginning work on a new film out of Blumhouse Productions.
For more information about VFX Legion visit http://VFXlegion.com.

CREDITS:
Project: ‘Superfly’ (2018/Feature Film)
Client: Sony Pictures

Director: Director X (Jules Christian Lutz)
Executive Producer: Matthew Hirsch
Producer: Joel Silver
Producer/Music Curator: Future
Producer: Palak Patel
Cinematographer: Amir Mokri
Screenplay by: Alex Tse
Talent: Trevor Jackson, Jason Mitchell, Lex Scott Davis

Production Companies: Columbia Pictures, Silver Pictures, Sony Pictures Entertainment (SPE)

VFX Company: VFX Legion /LA
VFX Supervisor: James David Hattin
VFX Executive Producer: Reid Burns
VFX Producer: Nate Smalley
VFX Production Manager: Andrew Turner
CG Supervisor: Rommel S. Calderon
VFX Coordinator: Lexi Sloan
CG Artist: Eric Ebling
CG Artist: Alex Keller
Camera Tracking: Ruy Delgado
Compositor: Nick Guth
Compositor: Brad Moylan
Compositor: Eugen Olsen
Compositor: Kevin Shawley
Compositor: Dan Short

Comments

  • kiarawillson92

    kiarawillson92 said 7 days ago:

    OMG! It is so facinating and I really can't believe that I am actually looking at all these stuff 3D work is really amazing! I am thinking to propose my company PennySaviour of a 3D intro video that will be great I guess.
  • verma ruby

    verma ruby said about 1 month ago:

    Set in present-day Atlanta, the Mecca of today’s popping music scene, the action is driven by a hip-hop soundtrack curated by Future. !! Visit us fireboy and watergirl
  • BeauvaisGinnynw429@gmail.com

    BeauvaisGinnynw429@gmail.com said about 1 month ago:

    You must be alert to opportunities: An entrepreneur Matt Choi "Certus Trading" has to learn to detect business opportunities, and for this he must always be alert, thinking how each situation he lives, each person he knows, each information he receives can help him in his project.

  • mariaalbert

    mariaalbert said about 1 month ago:

    Handing over on its promise of a market-leading video evaluation and collaboration platform, frame.io will demo ultra-speedy uploads through its new Watch Folders app for macOS, picture evaluatethe tool, employer-grade safety functions and extra at 2018.
    Essay Help
  • Arvind

    Arvind said about 2 months ago:

    Through this control panel you can check your all the software easily from here i m know very well recovery control panel windows 10 and there is also get option to recover your software and all the application has been showed that what application should be run or not.
  • robbie22

    robbie22 said 3 months ago:

    Right now we are studying these VFX effects in our school courses. Where we are being taught about the difference between the natural and virtual world. And how the dynamics of a scene can be changed. Soon we will be given assignments for recreational scenes in which i have chosen the topic of Modern civilization and old tools. I have to make a complete set, for that i will use the school resources using coupons back to school . It is going to be a set for small figures and i have to manipulate the characters movement.
  • smith102 smith

    smith102 smith said 3 months ago:

    I really like all the information that you have put on your blog post. Thanks for putting up great content on your site. godaddy hosting 1$ here you can find the best services for your site at an affordable cost. Hope so you will have a visit to our site.

Post a comment: