4/18/2023 0 Comments Ghost rider agents of shieldThis is non-refundable and cannot be canceled after purchase.Īll In-Stock items are non-mint (8/10 - 9/10 Grade). If other items are purchased with larger Funko items, one or more of the different items will be automatically removed (in order to properly preserve your shipment). Varying degrees of damaged face were rendered including irritated skin, puss-filled blisters, as well as face muscles and charred skin.Our App has even more products to choose from! You can find us in the Google Play Store or in the App Store!īy purchasing this item, you agree to our Terms of Services.Īll 4-Inch Funko Pop! items will ship in soft protectors unless otherwise noted (sales, discounts).Īny Funko Pop! Items larger than 6-Inches (10-Inches & 18-Inches) must be purchased alone (Quantity of 1) with no other item in order to ship properly. Vertex color information from the sim was passed through to shaders and rendered as numerous AOVs for the compositing team to use as animated holdouts for each stage of the reveal. Once the skin tearing simulation was complete it was sent to be lit and shaded. Once the timings were approved we were able to create multiple attributes from these gradients that were used to drive all the various components of the FX from the generation of the smoking smoldering skin, the fire of the burning flesh and finally the disintegration and tearing of the skin. We were able to visualize these attributes in real time for quick iterations based off feedback from the client. This gave us the ability to pick where and when the transformation would occur, and how far and fast they would spread using a combination of procedurally generated and painted values. A custom tool was created by FX Supervisor Slim Ghariani and FX artist Bruce Coy to allow the creation of a gradient that had multiple points of origin and weighted strengths to control the timing. With at least one transformation shot every episode a system to burn the flesh off Robbie had to be created to be highly, and easily art direct-able in terms of the direction and areas he would burn the skin off from. In order to force the fluid to follow certain paths for artistic factors like the the fire flaring around each side of the face, we sculpted in space, directional vector fields with the sole purpose to contain and direct the fluid that passes through as artist sees fit. Directing a fire simulation carried by a dynamic character is an extremely arduous and tedious task. And those were all able to be refined on a shot by shot basis to accommodate for massive range of motion, from the simplest of stances, to a walk, to the most extreme and complex fight sequences.Īdditional CG and 2D techniques were utilised to allow for the skull’s facial features to emote, as well as additional FX elements for precisely timed flame flareups erupting from the jaw. The skull, neck, spine and eyes each required a specific FX rig to account for art direction from myself, CG Superviors Chad Wanstreet and John Decker and finally Mark Kolpack and the shows EPs. Each of his Fire, Smoke and Ember layers could take up to 10 hours to compute. The Ghost Rider character necessitated heavy CG fluid simulations to create his distinctive pyrotechnic features. So the mask was cut to allow all of Gabriel’s facial features to be seen and used to facilitate Ghost Rider’s expressions. A second mask was created once we saw the lack of facial expression that was visible when using the first mask. Mark added tracking dots to his facial features to help facilitate match-moving which was done by long time FuseFX collaborators YANNIX. It also only had his eyes and partial forehead and nose exposed. Both had four strips of LED lights for interactive glow and falloff onto his leather jacket. Two masks were created by Production for Gabriel to wear.
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