We add it through her face for a while, but it seemed to be getting in the way of the performance. What that gave us was a really good feeling of volume for her. It wouldn’t be like the front just projected on the back-face. Then we would see it only from the front. So what we did is we came up with a way of mapping the back-face as if it were clothing projected from the back, on her. What we finally came up with was, if you look at a glass or you look at a bottle, you see the front-side surface of the glass or the bottle, then you see the back surface of the bottle. As opposed to being made up on a computer screen, things could be/would be photographed. For the most part, we tried to make things that felt like they could be photographed.
#Blade runner 2049 visual effects movie#
It was a conscious decision in the movie to try to have the film really feel analogue and not digital. We didn’t want it to look too much like Tinkerbell and made up of light. We didn’t really like the way most real holograms looked. John Nelson: We looked at Joi early on in design. Settling on a hologram look Witness camera views from the shoot. In the first piece of my coverage of Blade Runner 2049, John Nelson breaks down how they made these amazing shots possible (Nelson recently spoke at length about the visual effects of Blade Runner 2049 at the VIEW Conference). The sequence involved significant visual effects planning and execution, undertaken by overall visual effects supervisor John Nelson and Double Negative, with Paul Lambert as Dneg’s VFX supervisor. It involves the real human Mariette interacting with K, while also ‘merging’ at times with Joi. The ménage à trois between K (Ryan Gosling), his companion hologram Joi (Ana de Armas) and Mariette (Mackenzie Davis) in Denis Villeneuve’s Blade Runner 2049 is a stunningly realised sequence. Masters of FX My book featuring 16 of the world's best vfx supervisors is available at
#Blade runner 2049 visual effects full#
Dutra reflects on those early days of the digital age Retro VFX: The Fifth Element Multi pass and motion control: re-visiting the VFX of 'The Fifth Element' Retro VFX: Terminator 2 Full liquid metal, now in 3D: re-visiting the freakin’ T-1000 walking out of the fiery truck crash Retro VFX: Dante’s Peak The race to finish Dante’s Peak.20 years ago Retro VFX: CG Jabba You’re a wonderful human being: re-visiting CG Jabba 20 years later Retro VFX: Mars Attacks! Behind the ILM Mars Attacks! tests that convinced Tim Burton to go CG Retro VFX: Twister It’s been 20 years since ‘Twister’ brought us that flying cow Search for: Archives The social (VFX) lives of Hollywood Behind the scenes vfx pics posted by the stars Retro VFX: Contact The famous mirror shot in ‘Contact’ was almost something else entirely Retro VFX: Men in Black ‘Men in Black’ and its crazy collection of real and CG creatures Retro VFX: Batman & Robin The forgotten freeze-frame moments from the film Retro VFX: Predator Optical compositing, thermal cameras and *that* red suit Retro VFX: The Mummy Re-visit the digital make-up, mocap and other VFX innovations from the 1999 film RETRO VFX: The Lost World Animation director Randal M. Retro VFX: The tech of Terminator 2 An oral history with ILMers behind the CGI. A new VR animation tool, for first-timers.
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