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  • RSP team reunites with Director James Mangold for dark and intense “Wolverine” finale.

    Reprising its role on The Wolverine, Rising Sun Pictures joined Director James Mangold’s team for Logan, the third and final installment in 20th Century Fox/Marvel’s “Wolverine” saga. Working under Production VFX Supervisor Chas Jarrett and Co-Producer Kurt Williams, RSP contributed some 230 shots to the dark, visceral tale, with the work ranging from animating the title character’s trademark claws to producing finely-detailed matte paintings of locations in Mexico, Texas and elsewhere.

    Logan is a departure from other X-Men movies in tone and style. Set in 2029, it reveals a declining population of X-Men and a weary Logan (Hugh Jackman) with diminishing powers. His attempt to hide from the world, and shelter an aging Professor X, is foiled by the arrival of a young mutant.

    RSP’s work included the movie’s opening scene near the U.S.-Mexico border. Working as a limo driver, Logan is confronted by a gang of thugs. Although his skills are rusty and his adamantium claws don’t work quite the way they should, he dispatches his assailants in a swift, violent flurry, stabbing one through the arm and skewering another straight through his head. Visual effects elements included not only the animated CG claws, but also blood, gore, wounds and body part replacements.

    Although RSP had created a number of claw effects for The Wolverine, the speed and complexity of the fight proved challenging. “The story and performance beats were well articulated through bash comps from Chas and editorial mock-ups,” notes RSP VFX Supervisor Dennis Jones. “Still, there was a lot to work out about the mechanical functioning of the claws and how they related to the actors and individual body parts, and we were given considerable license to solve the action in creative ways.”

    “It went beyond tight match-moving and claw integration. For some of the really specific penetration moments, we had to remove, stabilize and reposition Logan’s arms, fists and claws to suit the composition and timing of the shot.”

    The action was considerably more graphic than in the past, in some instances, shockingly so. “On the earlier films, we worked within PG-13 guidelines, but Logan’s R-rating was confirmed from the start,” Jones explains. “That introduced another dynamic to play with. We could work with less restraint regarding things like blood and claw penetration.”

    RSP’s most visually arresting sequence involved Professor X’s application of a “psionic blast,” a huge pulse of energy that affects the mind rather than the body. In the movie, it takes the form of a vortex of violent energy, through which Logan fights his way while fending off “cybernetic “ criminals known as “reavers.” “The blast was the most challenging effect creatively,” says Jones. “The sequence was shot natively with camera shake and so there were no clean takes. Initially, we explored effects and treatments designed to add tunnel vision vignetting, as well as applying blur and over exposure, but weren’t satisfied with the results.”

    Ultimately, the team chose to start over and stabilize the production footage. “We found that shots with high contrast content and aggressive high frequency shake produced ideal results without too much modification“ says co-VFX Supervisor Anthony Smith. “We developed techniques to augment the blur artifacts with custom-animated kernels applied through the FFT (fast Fourier Transform) method. That produced sharp and controllable results.”
    The challenges posed by the digital matte paintings were more aesthetic than technical. RSP was charged with replicating several environments so that audiences would accept them as real. They included a border crossing between El Paso and Juarez that featured a bridge, traffic and guard structures integrated with footage shot on location in Juarez.

    “We were also asked to make a building operated by Transigen (a government program designed to turn mutants into killing machines) look more ominous and secure,” notes Jones. “We did that by dressing a live action plate with full CG props such as cameras, gatehouses and security fencing. Lighting and integration was key in these supporting effects shots.”

    Jones says it was exciting for the RSP team to contribute to the conclusion of a story they helped begin. “We were really pleased to work on the limo fight as it sets the tone for the brutality of Logan,” he concludes. “We were also very happy with how well the psionic blast turned out and the reaction it is getting from audiences…the audio adds a lot to the tense, high pressure visuals. We really enjoyed the opportunity to contribute to the film and revisit the Logan character.”

    RSP team reunites with Director James Mangold for dark and intense “Wolverine” finale.

    Reprising its role on The Wolverine, Rising Sun Pictures joined Director James Mangold’s team for Logan, the third and final installment in 20th Century Fox/Marvel’s “Wolverine” saga. Working under Production VFX Supervisor Chas Jarrett and Co-Producer Kurt Williams, RSP contributed some 230 shots to the dark, visceral tale, with the work ranging from animating the title character’s trademark claws to producing finely-detailed matte paintings of locations in Mexico, Texas and elsewhere.

    Logan is a departure from other X-Men movies in tone and style. Set in 2029, it reveals a declining population of X-Men and a weary Logan (Hugh Jackman) with diminishing powers. His attempt to hide from the world, and shelter an aging Professor X, is foiled by the arrival of a young mutant.

    RSP’s work included the movie’s opening scene near the U.S.-Mexico border. Working as a limo driver, Logan is confronted by a gang of thugs. Although his skills are rusty and his adamantium claws don’t work quite the way they should, he dispatches his assailants in a swift, violent flurry, stabbing one through the arm and skewering another straight through his head. Visual effects elements included not only the animated CG claws, but also blood, gore, wounds and body part replacements.

    Although RSP had created a number of claw effects for The Wolverine, the speed and complexity of the fight proved challenging. “The story and performance beats were well articulated through bash comps from Chas and editorial mock-ups,” notes RSP VFX Supervisor Dennis Jones. “Still, there was a lot to work out about the mechanical functioning of the claws and how they related to the actors and individual body parts, and we were given considerable license to solve the action in creative ways.”

    “It went beyond tight match-moving and claw integration. For some of the really specific penetration moments, we had to remove, stabilize and reposition Logan’s arms, fists and claws to suit the composition and timing of the shot.”

    The action was considerably more graphic than in the past, in some instances, shockingly so. “On the earlier films, we worked within PG-13 guidelines, but Logan’s R-rating was confirmed from the start,” Jones explains. “That introduced another dynamic to play with. We could work with less restraint regarding things like blood and claw penetration.”

    RSP’s most visually arresting sequence involved Professor X’s application of a “psionic blast,” a huge pulse of energy that affects the mind rather than the body. In the movie, it takes the form of a vortex of violent energy, through which Logan fights his way while fending off “cybernetic “ criminals known as “reavers.” “The blast was the most challenging effect creatively,” says Jones. “The sequence was shot natively with camera shake and so there were no clean takes. Initially, we explored effects and treatments designed to add tunnel vision vignetting, as well as applying blur and over exposure, but weren’t satisfied with the results.”

    Ultimately, the team chose to start over and stabilize the production footage. “We found that shots with high contrast content and aggressive high frequency shake produced ideal results without too much modification“ says co-VFX Supervisor Anthony Smith. “We developed techniques to augment the blur artifacts with custom-animated kernels applied through the FFT (fast Fourier Transform) method. That produced sharp and controllable results.”
    The challenges posed by the digital matte paintings were more aesthetic than technical. RSP was charged with replicating several environments so that audiences would accept them as real. They included a border crossing between El Paso and Juarez that featured a bridge, traffic and guard structures integrated with footage shot on location in Juarez.

    “We were also asked to make a building operated by Transigen (a government program designed to turn mutants into killing machines) look more ominous and secure,” notes Jones. “We did that by dressing a live action plate with full CG props such as cameras, gatehouses and security fencing. Lighting and integration was key in these supporting effects shots.”

    Jones says it was exciting for the RSP team to contribute to the conclusion of a story they helped begin. “We were really pleased to work on the limo fight as it sets the tone for the brutality of Logan,” he concludes. “We were also very happy with how well the psionic blast turned out and the reaction it is getting from audiences…the audio adds a lot to the tense, high pressure visuals. We really enjoyed the opportunity to contribute to the film and revisit the Logan character.”

    Credits & Crew
    Director:
    James Mangold
    VFX Producer:
    Kurt Williams
    VFX Supervisor:
    Chas Jarrett
    Rising Sun Pictures:
    Aaron Fickling Aaron Patrick Stewart Adam Potter Alana Newell Albert Radosevic Alessio Bertotti Alex Meddick Alwyn A Hunt Andrew Palmer Andrew Peel Andrew Savchenko Anne Vu Anthony Smith Anto Bond Arthur Moody Ashleigh White Ben Dickson Ben Paschke Benjamin Holen Benjamin T Kay Bradley Webster Brodie McCrossin Bryn Bayliss Chelsea Mirus Chris King Christopher Janssen Claire Kearton Corinne Teng Craig Field Damian Doennig Daniel Thompson Daniel Velikov David Cattermole Dennis Jones Eliza Scott Emma Hildestrand Fernando Guerrero Rodriguez Francesca Jocelyn Milde Francesco Cadoni Gail Fuller Gillian Howe Greg Wieder Hang Li Hao Truong Harry Medlin Heath Dingle Hubert Maston Ian Cope Jack French Jennie Zeiher Jess Burnheim Jesse Balodis Joel Michael John Perrigo John Toth Jonathan Blieschke Jonathon Mckendrick Josh Ellem Josip Peterkovic Juan Salgado Julia Caplin Karthic Ramesh Kate Adams Kathy Constantin Ken Stewart Kevin Campbell Kieran Ogden-Brunell Kieran Shepherd Kurt Debens Lachlan Tolley Leslie Safley Levent Haseki Levon Hudson Lu, Ting Yun Luan Nguyen Makoto Hatanaka Marcus Wells Maree Friday Mark Day Mark Laszlo Mark Story Matthew Shaw Masahiro Teraoka Merinda Janse van Rensburg Michael Furniss Mykhailo Slavov Naeem Chudawala Nathan Zeppel Nick Beins Nick Pill Nicolas Landajo Nikhil Shankar-Noble Noah Vice Nonis Nicole Parikshat Tyagi Paris Downes Paul Boyd Paul Taylor Peter McInulty Qazi Hamza Javed Rajbir S Dhalla Ranajoy Kar Ranjith Kizhakkey Renee Marsland Rita Alicia Garcia Roberto Velio Genito Ryan Heniser Ryan Kirby Samuel Hancock Samuel Hodge Sara Henschke Sarah Beneke Shane Aherne Shane Berry Shawn McCarten Simon Malessa Simon Walsh Sithiriscient Khay Sophie Beck Spyro Polymiadis Tony Clark Tor Andreassen Victor Glushchenko Wayne Lewis Wendy Nethercott
    Director:
    James Mangold
    VFX Producer:
    Kurt Williams
    VFX Supervisor:
    Chas Jarrett
    Rising Sun Pictures:
    Aaron Fickling Aaron Patrick Stewart Adam Potter Alana Newell Albert Radosevic Alessio Bertotti Alex Meddick Alwyn A Hunt Andrew Palmer Andrew Peel Andrew Savchenko Anne Vu Anthony Smith Anto Bond Arthur Moody Ashleigh White Ben Dickson Ben Paschke Benjamin Holen Benjamin T Kay Bradley Webster Brodie McCrossin Bryn Bayliss Chelsea Mirus Chris King Christopher Janssen Claire Kearton Corinne Teng Craig Field Damian Doennig Daniel Thompson Daniel Velikov David Cattermole Dennis Jones Eliza Scott Emma Hildestrand Fernando Guerrero Rodriguez Francesca Jocelyn Milde Francesco Cadoni Gail Fuller Gillian Howe Greg Wieder Hang Li Hao Truong Harry Medlin Heath Dingle Hubert Maston Ian Cope Jack French Jennie Zeiher Jess Burnheim Jesse Balodis Joel Michael John Perrigo John Toth Jonathan Blieschke Jonathon Mckendrick Josh Ellem Josip Peterkovic Juan Salgado Julia Caplin Karthic Ramesh Kate Adams Kathy Constantin Ken Stewart Kevin Campbell Kieran Ogden-Brunell Kieran Shepherd Kurt Debens Lachlan Tolley Leslie Safley Levent Haseki Levon Hudson Lu, Ting Yun Luan Nguyen Makoto Hatanaka Marcus Wells Maree Friday Mark Day Mark Laszlo Mark Story Matthew Shaw Masahiro Teraoka Merinda Janse van Rensburg Michael Furniss Mykhailo Slavov Naeem Chudawala Nathan Zeppel Nick Beins Nick Pill Nicolas Landajo Nikhil Shankar-Noble Noah Vice Nonis Nicole Parikshat Tyagi Paris Downes Paul Boyd Paul Taylor Peter McInulty Qazi Hamza Javed Rajbir S Dhalla Ranajoy Kar Ranjith Kizhakkey Renee Marsland Rita Alicia Garcia Roberto Velio Genito Ryan Heniser Ryan Kirby Samuel Hancock Samuel Hodge Sara Henschke Sarah Beneke Shane Aherne Shane Berry Shawn McCarten Simon Malessa Simon Walsh Sithiriscient Khay Sophie Beck Spyro Polymiadis Tony Clark Tor Andreassen Victor Glushchenko Wayne Lewis Wendy Nethercott

    The CG sandstorm shoot in 'The Way Back' was cancelled due to a real sandstorm.
    Contact us:

    Level 1, 180 Pulteney Street Adelaide, South Australia 5000 Australia

    +61 8 8400 6400 vfxinfo@rsp.com.au

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    Contact us:

    Level 1, 180 Pulteney Street Adelaide, South Australia 5000 Australia

    +61 8 8400 6400 vfxinfo@rsp.com.au

    Sign up to our e-Newsletter
    Follow Us On: