Mikros Image and Rust & Bone
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June 5, 2012 | 9:47 pm or 9:47 pm GMT
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Visual Effects Supervisor Cedric Fayolle talks about his work on Rust & Bone.
from The Art of VFX article:
How did Mikros Image got involved on this film?
For a project like this, producers have asked the major French companies VFX. We had already worked with Why Not Productions on other projects, but this time the issue was different, because the effects are included in the narrative, so they expected a greater understanding of the script and the director’s universe. So I met Jacques Audiard, we did tests, build a file, discussed the goal. It turns out that I had made a shot roughly similar for Michel Gondry’s INTERIOR DESIGN (1 of the 3 short films of the project TOKYO). In this short film, the main character turned into a chair, and we replaced the legs with wooden feet. He found the technique useful for its freedom of movement. Jacques decided to trust us.
How did the collaboration with director Jacques Audiard?
I could use all the superlatives, but it would not be sufficient. Our collaboration was total, and that throughout the project! The first working meetings were quite unsettling, because I was impressed by his longtime collaborators (writer, DoP, production designer, costume designer, script, editing …). I feel like the new family member, except that here they were all Cesarized. Both say that I feel very small. The strength of Jacques is that he has a lot of confidence to all his head of departments, he listens very carefully and that creates a great dynamic to work.
What was his approach to visual effects?
His approach is primarily emotional and script orientated. During the meetings, we stopped on each sequence to decide about what was important whether or not to see the legs cut: Does the effect brings too much emotion or is it rather disturbing narrative, distract the viewer from the original intent of the scene?
Then he has never talked about technique. He told me “We need the stumps to be sexy”, “believe in your dramatic effects,” or “always works within the limits of the offscreen”. At first, we don’t know what to do with this information. For example, for the submarine shot of Ali who hits the ice, I was doing tests with this information: “should be darker, think of Orpheus that want to retrieve Eurydice from the underworld”. At first, it is confusing, but our job is just to translate these intentions technically.
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