Hasta La Motion!

Daryl Sawchuk, Visual Effects Supervisor for Method Studios and Animation Supervisor for Black Panther, gives WIRED an exclusive look at breakdowns of the digital Black Panther and Kilmonger suits, and the final fight scene of Marvel’s mega-blockbuster.

Black Panther is available on Blu-Ray and DVD May 15, 2018.

Read more about Black Panther on WIRED.com:

Why Lighting and Makeup Were Black Panther’s Secret Weapons: https://www.wired.com/story/black-panther-lighting-makeup/

Behind the Scenes of Black Panther’s Afrofuturism: https://www.wired.com/story/black-panther-design/

What Black Panther’s Success Means for the Future of Movies: https://www.wired.com/story/black-panther-box-office-hollywood/

Want More Black Panther? Here are 5 Comics to Read: https://www.wired.com/story/black-panther-reading-list/

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How Black Panther’s Visual Effects Were Made | WIRED

Modern action movies are all about shaky cameras and quick cuts. A lot of filmmakers draw their inspiration from the Bourne Trilogy—a film series that changed the way action movies are made through their unique editing style. But some of those changes have been for the worse. Has the Bourne trilogy sparked an era of poor film editing and deceptive action movies?

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Produced by: Nathaniel Lee

A story about the power of a community working together to make good things. Directed by Fx Goby Commissioned by Google Creatives: Jack Colley, Thomas Manion Creative Producer: Casey Lee Producer: Karen Morris Title: Make Good Things Together Produced at Nexus Studios Producer: Mariano Melman-Carrara, Kirsty Ratcliffe Production Manager: Derek Walsh Production Assistant: Lucy Caetano Art Director: Melanie Climent Designer: Jack Cunningham, James Castillo Murphy Project Lead: Nico Domerego, Dorianne Fibleuil Lead Animator: Lucas Vigroux Lead Lighting: Darren Rolmanis Lead VFX: Hugh Johnson Lead Compositor: Ken Hau Storyboard: Louis Kynd, Will Volley 3D Animation: Lucas Vigroux, Aziz Kocanaogullari, Fabrice Fiteni, Clement Fassler, Edwin Leeds, Remy Herisse, Simone Giampaolo, Ning-En Chang 2D Animation: Samantha Jones, Dani Bethel Rigging: Kasper Larsson, Arthur Ranson Modelling: Dorianne Fibleuil, Corentin Charron, Cesar Eiji-Nunes, Sébastien De Oliveira Bispo, Adam Lindsey, Arnold Pryada, Jerome Ferra, Eder De Souza Texturing: Sophie Blayrat, Sébastien De Oliveira Bispo, Dorianne Fibleuil VFX: Hugh Johnson, Paul Cousins, Gareth Bell, Guillaume Fradin Lighting: Dorianne Fibleuil, Corentin Charron, Darren Rolmanis, Benoit Berthe, Adam Lindsey, Florian Caspar, Sébastien De Oliveira Bispo, Jerome Ferra, Cesar Eiji-Nunes, Paco Rocha, Arnold Pryada, Nicolas Morel. Compositing: Valentin Panisset, Sarah Breakwell, Valerie Guichard, Clarisse Valeix, Lisa Mandelli, Jean-Baptiste Aziere, Bence Varga, Debora Sangermano, Gockcecan Gursoy Art Department: James Castillo Murphy, Samuel Klughertz, Morgan Le Henry, Maxime Dupuy, Slawek Fedorczuk Music: Vulfpeck ‘Animal Spirits’ Countdown Intro: Director: Nicolas Ménard Animators: James Turzynski, Pablo Lozano, Dani Bethel, Amanda Holm Compositor: Daniel Romero Music: Brains&Hunch Editors: Dave Slade, James Alexander, Pablo Noe, Mark Van Heusden Pipeline,Technical Director: Tom Melson, Patrick Hearn IT Support/Systems: Ryan Cawthorne Studio Manager: Natalie Busuttil Assistant Studio Manager: Samira Tristani-Firouzi Audio Post Production: Fonic Dubbing Mixer and Sound Designer: JM Finch Assistant Sound Editor: Rory Hunter Foley recordist: Christopher Swaine Foley Artist: Ruth Sullivan

It’s very nearly the 30th anniversary of Ron Howard’s Willow, a huge effects film full of practical fx, miniatures, optical composites, matte paintings…and digital morphing. This was ILM’s big breakthrough into 2D image manipulation. I recently wrote about for VFX Voice magazine, and you can check out that article here.

When you’ve served the most delectable tortilla from a Michelin-starred Mexican tapas restro, you ought to retain the basic ingredients when trying your hand at a new recipe to avoid compromising with the quality. Deadpool 2 tried to build on the cult success of its prequel by trying to cook up a spicier version of the tortilla, but ends up frying an overstuffed chimichanga that’s nowhere near as appetising.

Mind you, the motormouth mercenary does deliver more of the quirky, rib-tickling one-liners and jibes he belted out in his 2016 outing, but it all gets monotonous and mundane even with just 20 minutes into the movie. Blame that on an overwrought writing, and if you find the proceedings very excruciating and long, inculpate the wafer-thin plot. But no one can blame yourself for being disappointed eventually.

Deadpool 2 starts off with the mangle-faced Wade Wilson cocking a snook at the makers of Logan for dusting off the most popular character of the X-Men franchise, before indulging in another bone-crushing, blood-splattering, brawl in a basement. Things soon go from bad to worse for the regenerating mutant, and due to some regretful circumstances, ends up in a dreaded cell, far away in the snow-clad terrains.

The story thereafter, spirals into a bottomless abyss of mediocrity. Save for a few wisecracking quips from the man himself, rest everything’s just passable. Including the much-maligned Cable, who’s criminally underwritten and Josh Brolin’s intimidating frame isn’t capitalised on enough. Barring Domino (Zazie Beetz) and a hilarious Dopinder (Karan Soni), the rest of the bunch are mere afterburners in this jalopy.

Even the CGI fights and VFX-generated paroxysm of the superpowers do not help the cause one bit. It’s far overdone and painful to the eyes after one point. What’s more damning is the fact that the movie had roped in some acclaimed studios such as Double Negative, Method Studios and Framestore for this. But the end-product, from the visual standpoint, is not as hair-raising as you’d expect.

For everything refreshing that Deadpool was, Deadpool 2 is far contrived. Forget Cable, the movie is its own biggest enemy – tediously repeating the tricks of old to the point of exhaustion. An overdramatised and protracted climax is the final nail in the coffin.

A massive letdown, this.

Based on Marvel Comics, Deadpool 2 opens in cinemas on Friday, 18 May 2018.

The post ‘Deadpool 2’ review: Craptacularly shambolic appeared first on AnimationXpress.