Deadpool – Before and After VFX

Much has been made of Deadpool’s success in relation to its “Hard R” rating, prophesying a  future replete with profanity-and-gore-spewing superheroes. But another lesson to be gleaned by the studios is that a $200 million production budget isn’t a prerequisite for its tights-adorned blockbusters. Despite being heavily visual effects driven, Deadpool cost only $58 million to make. To put that in perspective, since 2011 only two superhero films from major studios have cost less than $120 million – Lionsgate’s Kick-Ass sequel ($28 million) and Sony’s Ghost Rider sequel ($57 million). The average budget of Marvel Studios’ nine releases in that span is just short of $180 million, per Box Office Mojo.

Below is a look at how Deadpool pulled off its paltry-budgeted effects through a series of before-and-after VFX comparisons. The pictures in the gallery come from a pair of excellent interviews over at The Art of VFX – one with an artist from Digital Domain, which handled much of the work on Colossus, and one with an artist from Atomic Fiction, which handled the freeway chase/counting bullets set pieces. The Art of VFX is a must-read for those with a practical interest in the minutiae of modern CG effects. Fx Guide’s Deadpool feature is worth checking out as well. Continue Reading ›

Behind the Scenes: Jeff Bridges’ panoramas from the set of R.I.P. D.

RIPD 4 (#10)

Jeff Bridges first laid eyes on a Widelux 35mm panning camera when a photographer used one to snap his high school class photo. His wife bought him one of the cameras in the late 1970s and beginning with 1984’s Starman, Bridges has used the Widelux to document the production of every movie he’s been a part of.

That includes this summer’s Dark Horse Comics adaptation R.I.P.D. Click on any photo for a bigger version. Or, if you’re not into the whole brevity thing, peruse pictures from Bridges’ previous films at his website.

Here’s what Bridges has to say about the Widelux:

“The Wide-Lux is a fickle mistress; its viewfinder isn’t accurate, and there’s no manual focus, so it has an arbitrariness to it, a capricious quality. I like that. It’s something I aspire to in all my work — a lack of preciousness that makes things more human and honest, a willingness to receive what’s there in the moment, and to let go of the result. Getting out of the way seems to be one of the main tasks for me as an artist.”

RIPD 2 (#10) Continue Reading ›