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1. #Wolfpack twilight in their wolf forms movie
2. #Wolfpack twilight in their wolf forms plus
3. #Wolfpack twilight in their wolf forms series

“Sometimes we'll shoot reference plates with lots of plants and trees, as well as a clean hero plate without, to make it easier to composite wolves into the dense forest and add foliage in post,” he said.

#Wolfpack twilight in their wolf forms plus

“In addition to making sure the scene played dramatically, that the characters performed correctly as wolves, and that the audience understood instantly that they are not talking but communicating telepathically, and that the whole scene didn't seem like a small, distracting animated movie-within-a-movie - we also needed to make sure we could work with second unit to actually shoot the scene shot in a very short time,” said Eric.Īnticipating the work to be done back at the studio, Eric and the on set crew also captured a complete, standard set of VFX reference for each camera setup - HDRI environment photos, location survey for matchmove, grey sphere reference for lighting and color balance – plus reference photos of plants. The pressure was on from several directions. How long will it take to set up this shot on the day? How about relighting for this next shot, and so on.” So our camera position and lens selection took that into account.

For example, the lumberyard scene needed to be shot in only one and a half shooting days. Eric feels the close focus of their scenes on the wolves necessitated this effort.Įric said, “I think the advantage has been that, as the group responsible for the actual work, we are sensitive to what it takes to get that work done - not just in post, but during production as well. While Tippett had created fairly detailed animatics for ‘New Moon’ when two lead wolves were fighting, this was the most involvement they had ever established in preproduction for a Twilight movie, designing the sequence from script to screen and producing storyboards, animatics and a scratch track. Without the animatics, this would have been impossible.” And of course, the goal for the entire film unit was getting all the shots we need in the few days allotted to the shoot for the scene. “Between takes, we'd mention to the actors, ‘Your punches are landing too high’, or ‘Sam is bearing down on you faster than that’. “Some shots had six actors valiantly fighting invisible wolves, sometimes using giant wolf-shaped bean bags, and sometimes using just pantomime,” said Eric. They also watched the actors' performances very closely, making sure that these would work with the wolves that will be added in later.

This proved especially challenging for the fight sequence between several wolves and human characters, which was split up between two different units over six days of shooting. They concentrated on shooting what Bill had signed off on and ensuring the footage would cut together as expected when it was delivered to editorial, both for production and for their animators. Because two of the scenes were so wolf-centric, once the script had been finalised for their scenes, the team prepared animatics for each of them and had them approved before going on set. Therefore, this became the first task Senior Visual Effects Supervisor Phil Tippett really wanted to tackle.”īill, Phil and the team worked together with an unusual level of collaboration. If the tone wasn't right, the scene could have played out looking very silly.

#Wolfpack twilight in their wolf forms movie

“His primary concern was to avoid having a distinct, animated movie stuck into the middle of his own film, and he was especially concerned about the sequence in which the characters get together and talk in wolf form. Having already seen what we were able to do, Bill Condon wasn’t worried about those issues. “On the previous films, we had directors who were concerned with making the wolves come across emotionally for the audience, or being sure that the wolves were as photorealistic as possible. Tippett’s Visual Effects Supervisor Eric Leven described the relationship director Bill Condon developed with the team.

#Wolfpack twilight in their wolf forms series

Tippett has been creating the wolf characters for the Twilight Saga series since the second film ‘New Moon’ in 2009, followed by ‘Eclipse’ in 2010.Įach time the team has aimed to improve the looks, animation and plate integration of the wolves until now in ‘Breaking Dawn Part 1’, their third movie, their work on lighting, fur and emotional performances from the wolves has produced impressive results.Ī different director has directed each of the films in the Twilight Saga. Kingdom hearts au fanfiction.Tippett studio’s shots in ‘Twilight Saga: Breaking Dawn Part 1’ were at the heart of two of major sequences featuring members of the film’s werewolf tribe, all of whom were digitally designed, built and animated at Tippett.