![special effects vs visual effects special effects vs visual effects](https://i.pinimg.com/736x/98/6d/42/986d4282fcb634ef931f3ecd99c6bf69.jpg)
The film’s other signature digital creation was the sandworm, gigantic creatures patrolling the planet’s enormous desert as well as producing the elusive, priceless spice. When we shot the first couple of scenes where we had the ornithopter on the left side of the crane, then we had to crane it to the middle, and then to the right. We placed it cleverly for Denis and Greig to get the various angles in the different scenes at the dunes. That was worked out with Denis, Greig Fraser and Patrice Vermette weeks before we even shot that because it would take three to four days to move the crane. They built a special road, we got it there, and it stayed there for weeks for the takeoffs, landings and repositions. “It was a challenge to get this 300-ton crane in the desert and put it into position. “We used a completed one in Jordan and hung it off a crane rig for the shot when the worm is eating the spice Harvester,” Nefzer explains.
#Special effects vs visual effects series
That’s why we tend to put partial ornithopters onset because you have something real that you can work off.” BGI Supplies at Longcross Studios in the UK constructed a series of insectoid shaped aircraft that had to be transported via Russian Antonov cargo planes to shooting locations in Jordan and Budapest. “The most successful visual effects are when you have a good reference,” observes Lambert. But for Lambert, making these transports seem real, and believable, began with logistics-heavy practical shooting.
![special effects vs visual effects special effects vs visual effects](https://i.ytimg.com/vi/BdHCp62jC84/maxresdefault.jpg)
One of the film’s signature digital creations was the ornithopter, the Imperium’s small transport vehicle used extensively throughout the story. We all understood our strengths and weaknesses that is always a good base for a collaboration.” Brian Connor, the other VFX supervisor, I worked with him on one of my first shows at DNEG. I still call them out on things but not as much as when we first worked together. “I had Tristan Myles who came out onset with me for part of the shoot.
![special effects vs visual effects special effects vs visual effects](https://digitalsynopsis.com/wp-content/uploads/2015/04/movies-before-after-green-screen-cgi-avengers-5.jpg)
“It helped that I had the same crew as I did on Blade Runner 2049,” he continues. One great comment that Denis always used was, ‘Nature supersedes the storyboards.’ We would go to a set and depending on how things felt we would adapt.” An existing shorthand eased the workload. I’m always of the opinion that when you’re onset with these amazing people, like the cinematographer, production designer, costume designer, and special effect supervisor, you want them to bring as much as they can to the film. “We don’t like the flashy crazy camerawork,” notes Lambert. Villeneuve and Lambert share a similar visual sensibility. It did the extend the work out because it turned into a slower burn.” Towards the end, we started seeing screenings of the shots on a bigger screen every Friday, and Denis by then had returned to Los Angeles. We would all log on via Slack, send him the imagery and get the feedback. It was a testament to how everybody works that we were able to get work resumed up so quickly and get straight back into it. We abandoned that particular shoot to get done at another time. “That’s a fully CG shot for about 20 seconds. “We had just scheduled three days of motion-capture, with about 13 stunt performers, for when Paul Atreides is dreaming of the future where a sandworm is bursting through the ground and there are hundreds of Fremen and Sardaukar fighting,” notes Lambert. Complicating post-production on the latest adaptation of Frank Herbert’s seminal science fiction novel about galactic politics and the battle over a desert planet possessing a rare cognitive-enhancing compound known as “spice” was the lockdown caused by the COVID-19 pandemic. In total, 1,700 visual effects shots were created for Dune by DNEG, WylieCo, and Rodeo FX, with Weta Digital providing some conceptual designs.įor Lambert and Nefzer, producing believable worlds, creatures, and machines to support the story of Paul Atreides hero’s journey to the dark, foreboding conflict on the universe’s most dangerous planet posed considerable challenges.
![special effects vs visual effects special effects vs visual effects](http://www.avpgalaxy.net/wordpress/wp-content/uploads/2010/04/uk-avp2-02.jpg)
When someone like Christopher Nolan compliments Dune for seamlessly blending practical and digital effects, it is hard not concur as you marvel at the stunning work of VFX supervisor Paul Lambert and SFX supervisor Gerd Nefzer, both of whom received an Oscar for their previous collaboration with director Denis Villeneuve on Blade Runner 2049.