Amazing Before & After Hollywood VFX - Part 3

Even with all the technological advancements in visual effects since the last Star Wars movie, for 'The Force Awakens', director JJ. Abrams insisted they record as much as possible in-camera.

But, that said, they still ended up having to do 2100 visual effects shots, leaving VFX artists' with the ongoing challenge of trying to get the movie to a place where the spectator stops questioning whether a scene is real or not and can uninterruptedly follow the story.

Since the 2009 movie Avatar, visual effects houses have been working with deep data and the Force Awakens was no exception. Deep compositing, now included in most 3D render packages, creates deep pixels as opposed to regular pixels. A usual 2D image contains flat pixels with standard RGB color information. But a deep composite contains information for each of those pixels on multiple depths, similar to a 3D model, but as a flat image, making aliased edges and artefacts a thing of the past.

Okay, it would be a crazy idea for the production team to have controlled BB8 using a cat running inside it... But according to ILM's VFX supervisor it was necessary to actually build an articulated mechanical droid for the actors to understand what they were reacting with and to breath life and character into the droid.

In Juan Solanas' movie Upside Down, a film where two worlds orbit, one on top of the other, Solanas faced the challenge of having actors exchange dialogue without either looking like they were actually upside down. He wasn't happy with actors just interacting with a tennis ball on a stick, so his team devised a master and robotic slave camera to replicate the movements of the master, allowing POVs to vacillate between the two worlds.

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