Iloura News

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Putting the Ghost in Ghostbusters

The team at Iloura completed 500 shots on Ghostbusters, led by Iloura VFX Supervisors Glenn Melenhorst and Andrew Hellen and Iloura VFX Producers Ineke Majoor and Jeannette Manifold. Iloura’s slate of work focused on look development for and creation of ghostly characters.


Pete Travers, Sony Studios’ VFX Supervisor for Ghostbusters, said, “Iloura played such a strong role in the design of our ghosts. From the first test in pre-production which they hit out of the park, everything Iloura produced was not only of extremely high quality, but had such a strong aspect of creative design, in ways that we hadn't asked or expressed. They went the extra mile, and it always paid off from our vantage point. Glenn and his team made it easy on us, defining the look of our ghostly beings like Gertrude, the Rock Concert Ghost and the Mirror Ghouls.”


For Gertrude, a live-action/CG hybrid (sometimes full CG) who ‘lives’ in the library, artists built a skeletal system, designed and added her clothes and lower body, and finished with a celestial aura. 


Another Iloura creation was the band of Mirror Ghouls. The filmmakers envisioned them as decomposed creatures recessed in a dark world who take on a suggestive form from afar, but become more legible as they approach the mirror surface and try to escape. To achieve this, Iloura’s artists developed a number of looks for the translucent creatures from the recessed world, as well as more creepy, human-like forms that appear close to the surface.


Mayhem, a large and ominous all-CG ghost who inhabits a concert stadium and appears as part of a heavy metal stage show, was another Iloura creation. He needed to retain a ghostly, translucent look, but with subtle real-world detail such as skin texture and hair which needed to float and move as he flew through the air. An internal glow dubbed a “jelly pass” was added to give him an inner ghostly glow on top of his skeleton and muscle system. In some of the more complex shots, the dry-ice aura and vapor effects needed to interact with the concert crowd and the main actors to bring more believability to the scene.


Other characters completed by Iloura include ghost rats and the Show Ghost featured in a sequence with Bill Murray’s character.


Sony Studios’ VFX Producer for the feature, Sean Santiago, said, “I knew that when Iloura said they could do something they would, and they would exceed expectations, and despite the many, many curveballs thrown their way, Iloura continued to deliver quality work. It was an absolute pleasure working with Iloura and something I hope to repeat soon and often.”

Ghostbusters is currently in cinemas.

Posted: 25/07/2016

The Hollywood Reporter: Outstanding Special Visual Effects Emmy® Nomination

Iloura's VFX Supervisor Glenn Melenhorst, was recognised with a nomination for Outstanding Special Visual Effects for Game of Thrones “Battle of the Bastards” episode.

The Hollywood Reporter:  Reactions from nominees on 'Game of Thrones' JULY 14, 2016 by Carolyn Giardina

HBO's Game of Thrones led Thursday's Emmy nominations with 23 mentions, with many in crafts areas including cinematography, editing, makeup and sound.

The Creative Arts Emmys will be handed out on Sept. 10 and 11. As the results came in on Thursday morning, some of the crafts category nominees shared their reactions with The Hollywood Reporter. Here's what they had to say:

Glenn Melenhorst, visual effects, Game of Thrones

“I have watched Game of Thrones since season one, agog at the quality and audacity of the visual effects, so it goes without saying that we were beyond excited to be able to work with Joe Bauer and Steve Kullback on [the episode] ‘Battle of the Bastards," said Melenhorst, VFX supervisor at Deluxe's Iloura, one of the VFX houses that works on the HBO series. "It is historic television, and to be part of that history is very gratifying for the whole team here at Iloura. It’s hugely exciting to be recognized by our peers in this way. Congratulations to the team here at Iloura and to the other nominees."

http://www.emmys.com/awards/nominees-winners/2016/outstanding-special-visual-effects   

http://iloura.com.au/work/game-of-thrones 

Posted: 18/07/2016

PRESS RELEASE:

Deluxe’s Iloura Creates Crescendo VFX for Game of Thrones “Battle of the Bastards" 

Deluxe Entertainment Services Group announces that its Australian animation and visual effects studio Iloura delivered a significant suite of work for the recent “Battle of the Bastards” episode of HBO’s tentpole series Game of Thrones. Working on the epic battle sequence for the Season 6, Episode 9 crescendo, Iloura’s team of visual artists used a mix of VFX and hand-crafted animation techniques to realize the vision for the bloody showdown.

Iloura’s work was led by VFX Supervisor Glenn Melenhorst on the pivotal sequences that bring to a head the heated feud that had been brewing between hero Jon Snow and his army of Wildlings, and the Boltons, led by Snow’s nemesis Ramsay Bolton. 

The battle required many photorealistic horse and rider collisions, 3,000-strong armies, a mix of close-ups featuring live-action and CG humans and animals and massive crowd simulations, as well as hundreds of assets – CG armoury, weapons, flags, saddlery, body parts, and environmental assets such as blood, mud, smoke, fire and mist. Iloura was selected to work on the episode after presenting the show’s VFX Producer and Supervisor, Steve Kullback and Joe Bauer, with a series of tests presenting photoreal CG horses and riders colliding with other horses, rendered from various points of view. With Games of Thrones’ huge fan base, its exceptional production values and the scrutiny that is placed on the VFX across the series, it was essential that Iloura prove its strength via its rigging and muscle pipeline and the robustness of its animation team.

“Battle of the Bastards is shocking in its audacity,” said HBO’s VFX Producer for Game of Thrones Steve Kullback. “More shocking still that we pulled it off and so much credit for that goes to Iloura. We are up close and personal in this battle with CG horses and collisions right in front of the lens and we constantly needed to review Iloura’s shots side by side with the photography because it was hard to remember and even harder to see the difference between what was shot and what was added. Amazing."

To meet the animation challenges, Iloura’s artists researched and reviewed video references of horse behaviour in scenarios such as steeple chases, jousting, racing and associated accidents to garner an accurate representation to achieve the shots. Witness cams of horses captured on set proved to be valuable resources for the animation team as they provided multiple angles of reference for the same actions. Further, Iloura tapped its large library of animated clips to quickly assemble a blocking pass for shots, which became the foundation for animation that ended up on screen. Overall, the animation work consisted of motion capture, rotomation and key frame for horses as well as soldiers, building into a library of custom interactions and motion behaviours that could be used for both close-up shots as well as crowd shots built in Massive.

The initial brief was for the Wildling and Bolton armies to face off and then collide, but once production began, it became increasingly apparent that more complexity would be required. Each army comprised smaller factions with custom armour, weapons, flags, banners, saddles, bridles etc. Further, every asset needed a clean, pre-battle version as well as a muddy version, a bloodied version and a very-muddy-very-bloody variant.


To achieve the high-density shots and photoreal quality required, Iloura revamped its pipeline considerably and integrated systems. Its internal publishing tool ‘BOSS’ was improved to help with the number of assets, animation publishes and traffic going through the pipeline; Massive was integrated into the render and shading pipeline, and large sections were re-engineered to allow for more control and flexibility, with the pipeline moving completely to Alembic with rigging, animation and lighting achieved in Maya, FX in Houdini and compositing in Nuke using deep pixel compositing.

Game of Thrones “Battle of the Bastards” episode aired in the US on June 19 on HBO.

Posted: 29/06/2016

Iloura Partners with FMX 2016

Iloura is excited to be a part of the FMX conference in Stuttgart, Germany from April 26th -29th.

Iloura’s Dan Bethell (VFX Supervisor) will be giving a talk about Mad Max: Fury Road on Tuesday 26th April and Julian Dimsey (VFX Supervisor) will give a case study on Gods Of Egypt on Friday 29th April. We’ll also be present at a studio insight discussion on tackling VFX on Tuesday 26th April.  

Our recruiters, Debbie Cramb and Magdalena Bisogni will be in the Recruiting Hub all week and look forward to meeting you.

Please make sure you drop by and say hello!

For more info:

Recruiting Hub at FMX

Dan Bethell Mad Max: Fury Road FMX

Julian Dimsey Gods of Egypt FMX

http://www.fmx.de/program2016/overview 

Posted: 01/04/2016

What a lovely day for 'Mad Max: Fury Road' at the Oscars

The Oscar's biggest winner was Mad Max: Fury Road, nominated for a total of ten Academy Awards, Fury Road went on to win six: Best Production Design, Best Costume Design, Best Makeup and Hairstyling, Best Editing, Best Sound Mix and Best Sound Editing. 

Iloura was specifically nominated with Iloura VFX Supervisor Tom Wood's nomination in the Visual Effects category, acknowledging the incredible work that the Iloura team did on the film. 

Iloura created the toxic storm sequence in the film, which recently earned a VES award, as well as the Citadel location and a host of other VFX features, completing over 1,600 visual effects shots in total. Congratulations to everyone involved for their staggering work and success with Mad Max: Fury Road!

Posted: 07/03/2016

‘THE TOXIC STORM’ SEQUENCE OF FURY ROAD RECOGNIZED WITH VISUAL EFFECTS SOCIETY AWARD

The Toxic Storm sequence from Mad Max: Fury Road has taken out the award for Outstanding Effects Simulations in a Photoreal Feature at the Visual Effects Society (VES) Awards in Los Angeles. Iloura’s Dan Bethell, Clinton Downs and Chris Young were the nominees in that category, working with a team of artists at our Sydney studio through months of development for the complex sequence. It comes off the back of the Critics’ Choice Awards where Fury Road was recognized with the ‘Best Visual Effects’ award, alongside 8 other wins at that event including Best Director for George Miller and Best Action Movie.

Needless to say we are very proud of our nominees and all our staff and crew who worked tirelessly to bring outstanding work to the screen for Mad Max: Fury Road. 

Interested in knowing how we created the Toxic Storm sequence? Take a look at this article on Indiewire 

http://blogs.indiewire.com/thompsononhollywood/mad-max-fury-road-vfx-team-takes-us-inside-the-toxic-storm-20150529

Posted: 04/02/2016

ILOURA PROJECTS ENJOYING AWARD SEASON LOVE

In the midst of Award season, we’re proud to have worked on several projects that are being recognized with nominations and some wins. Mad Max: Fury Road has been a huge hit and is being recognized at prestigious Award shows globally. The Oscar nominations were announced today and the film has garnered 10 nominations including Best Film, Best Director and Best Visual Effects for which Iloura’s VFX Supervisor, Tom Wood is nominated alongside Production VFX Supervisor Andrew Jackson and SPX Supervisors Dan Oliver and Andy Williams. Similarly, these VFX nominees have been recognized by the forthcoming British Academy of Film and Television Arts Awards (the BAFTA’s), the Critic’s Choice Awards and several Iloura names appear on the nominee lists for the Visual Effects Society (VES) Awards in 3 categories - Outstanding VFX in a Photoreal Feature, Outstanding Compositing in a Photoreal Feature and Outstanding Effects Simulations in a Photoreal Feature. 

At the VES Awards, another of Iloura’s projects, ‘Childhood's End; Night Three’ is nominated for Outstanding Visual Effects in a Photoreal Episode with Iloura’s Glenn Melenhorst on the nominee list. Also coming up are the Annie Awards where SpongeBob Squarepants: Sponge Out of Water is nominated for Outstanding Achievement, Animated Effects in an Animated Production, with Iloura’s Paul Buckley, Brent Droog, Alex Whyte and Jonothan Freisler on the list http://annieawards.org/nominees/

We wish the best of luck to our clients and everyone nominated on these shows.

Critics Choice Awards: Sunday 17th January – Mad Max: Fury Road leads with 13 nominations including Best Visual Effects http://www.criticschoice.com/movie-awards/

VES Awards: Tuesday 2nd February www.visualeffectssociety.com

Annie Awards: Sunday 6th February http://annieawards.org/

BAFTAs: Sunday 14th February http://awards.bafta.org/award/2016/film

Oscars: Sunday 28th February http://oscar.go.com/nominees

Posted: 15/01/2016

Ted 2 Released on DVD and Blu-ray

An extended version of Ted 2 is now available on DVD and Blu-ray, just in time for the holidays grab your copy!

We loved working with Seth McFarlane and it was great to hear that the feeling was mutual!

"Working with Iloura on the "Ted" films has been an absolute gift.  I come from an animation background, and as a result, I always insist that the realism of an animated character -- in lighting, texture, and performance -- be held to the same standards as a live actor.  Iloura blew me away on a regular basis.  They integrated the Ted character as well as any VFX studio in the business, but more importantly, their character acting revealed an understanding of the craft beyond my wildest expectations.  As a result, they turned in the finest performance I've ever seen from an animated character.  The subtlety and nuance in Ted's expressions and physical behavior was expertly thought-out, human, and utterly convincing.  I would work with them again in a heartbeat."

Seth McFarlane - Director - Ted 2

Posted: 18/12/2015