Backstage View of ‘the Avengers’

CMT 2325 PROJECT 3 set ab push through Backstage view of The Avengers The primary objective of this essay is to elaborate on the existence of the different finical effects in a photographic film. I chose the movie The Avengers to research and report on which is an American superhero fictionalisation movie directed by Joss Whedon. The criterion on which I selected this movie was because it is a recent movie exploitation all(prenominal) the latest techniques of cinematography and graphics.Plus, since it is a superhero fiction, there are a number of scenes, curiously the stunt scenes which need to be executed using features like CGI VFX, green/blue pervades and edited using software like adobe Photoshop, Adobe by and by Effects, Adobe Creative Suite Production Premium, Adobe illustrator etc. which get been discussed further in the essay. Green screens are being used extensively in almost all movies these days. The technique is called Chroma Keying, where someone is filmed s tanding in front of a green screen and any green colors are digitally filtered out and replaced by the craved video. (Green Screen Environmentalism and Hollywood Cinema, David Ingram). One of the umpteen logistical challenges on the production of The Avengers involved dealing with the great deal of main calibers. Each actor had specific needs in regards to blue or green screen. The character that played Black Widow is red hair, Thor is blonde, and C appositeain Americas costume was almost chroma blue. Thus, there were a variety of different requirements for each. The scenes were worked out with both green and blue screens and the less(prenominal)er of devil evils were taken for the concluding shoot.Example in the movie For hulks bullet to Thor, they put Chris Hemsworth(Actor playing Thor) in front of a bluescreen standing on top of a real section of a downed Leviathan that they built. And they attached Hemsworth to a railway line pull that they re convictiond, so he could lo ok like he was knocked sidewise. They then replaced the blue screen with the apt background for the final look. They also cut a few frames out of the footage, so it looks like Hulks punch has instant impact. The movie had an extraordinary job of making the CGI (Computer-generated Images) realistic and incredibly clever.ILM played an significant role in contri only whening to the visual effects of The Avengers. They were responsible for creating many of the films digital assets from the Helicarrier, to New York streets and buildings, to digi-doubles of the characters, plus the Hulk and Iron Man. (Creating A 3D Animated CGI by Michael Scaramozzino)The surprise of many perhaps the scene stealer of the film is the Hulk played by immortalise Ruffalo. This is due to the less than fully successful earlier attempts at digital Hulks.Ang Lees 2003 Hulk and Louis Leterriers The undreamed Hulk both failed, for many people, in producing a Hulk that could walk the digital tightrope of impress ive skinny undefeatable strength, huge body mass, fast agile movement, raw anger and likable performance. ILM did a lot of liveness work in terms of selling the weight and that was hard slog to depart it right and to get all the pieces working together to make his mass believable, beyond that they did several rounds of simulation as far as the muscle dynamics and the skin to help make that all work together.To achieve this ILM deployed in advance(p) motion capture and a new facial animation system. The face of the Hulk was built out from a life cast / scan of actor Mark Ruffalos face. It was then modified in ZBrush to become the Hulk, while still retaining an essence of the original actor. They also studied simian motions for the Hulk and when Mark Ruffalo came to the studio to experiment with different motions in the mo-cap suit, he started to tend to go towards more apish motions, enceinte him that animalistic quality that gives you a feeling that hes not quite in control. ( http//latino-review. om/2012/04/05/avengers-cgi-ruffle-hulk/) For the creative director, graphics HUD supervisor, and the screen designer/animator, the most challenging on-screen graphics job was the creation of the heads-up displays (HUDs) in the film, used for two versions of Iron Mans suits. The team also created the on-screen graphics to fill in countless digital computer screens throughout the movie. Simultaneously they created the two Iron Man HUDs (the Mark 6 and the Mark 7) and ended by shake and compositing all the final 2D and stereo comps for the HUD interior shots and the POVs.The new HUD had to look and feel like forward Iron Man HUDs, but with amplified sophistication and detail. The designing of all the widgets, icons and panels was done on Illustrator, converted to form Adobe Photoshop files and then brought into After Effects for animation. (http//provideocoalition. com/adobe/story/Marvels_The_Avengers_Taking_the_HUD_to_new_heights/)The Avengers was the first time the HUD had been done in stereo. On the previous Iron Man films, there was a lot of blurred graphics for depth, but in stereo depth of field doesnt work as well.They focused a lot of time on how widgets and graphics would actually function because everything was clearly readable. Everything in the HUD, even down to the tiny micro-text, relates on the nose to the current story-point. A system was devised and rig on Iron Man 2 that was upgraded for stereo indoors After Effects. It utilized a virtual representation of the characters head in a 3D purlieu surrounded by the HUD graphics. Once we got the footage, we tracked it in 2D using the point tracker in After Effects.We put point trackers on the inside corners of both of his eyes and the end of his nose. From that, we averaged those tracks and shifted out the average in z space to get rotational values. The movie The Avengers has used numerous animation and graphic techniques which have opened up a whole new realm of exciting opportunities for future work the creation of the Hulk character being my personal favorite. The recreation of a computer model of New York urban center using a huge number of photographs edited was done amazingly as well.Also the camera shots, angles, lighting, and editing, all aid into the brilliant cinematography ofThe Avengers. REFRENCES 1. http//latino-review. com/2012/04/05/avengers-cgi-ruffle-hulk/ 2. http//www. studiodaily. com/2012/05/previs-techvis-and-postvis-on-the-avengers/ 3. http//provideocoalition. com/adobe/story/Marvels_The_Avengers_Taking_the_HUD_to_new_heights/ 4. Green ScreenEnvironmentalism and Hollywood Cinema by David Ingram 5. Creating A 3D Animated CGI by Michael Scaramozzino