get­ting cars to look great on screen is al­most im­pos­si­ble. then they had to smash them


Lexus donated the Lexus gsf and LC-500 for scan­ning, build­ing and lo­ca­tion ref­er­ence, and Marvel sup­plied the stu­dios with CAD builds of all the ve­hi­cles. Along with the

CAD and LIDAR data, Marvel con­trib­uted thor­ough ref­er­ence pho­tog­ra­phy that was used to ex­tract tex­tures for shading as well as to dig­i­tally re-create light rigs for look de­vel­op­ment and shader bal­anc­ing. “These three ve­hi­cles were our hero cars and used any­time we needed to dig­i­tally re­place and/ or aug­ment them in any way,” says Zink.

“There were mul­ti­ple dig­i­tal ver­sions of the same car, so they could have crashes and do var­i­ous stunts with them and Luma could re­place them or aug­ment them when nec­es­sary,” says Kevin souls, Los An­ge­les VFX su­per­vi­sor for Luma Pic­tures.

The ve­hi­cles were filmed in dif­fer­ent ap­plied light­ing en­vi­ron­ments and their parts were mod­elled in­di­vid­u­ally so they could break apart con­vinc­ingly. “We were sup­plied ini­tial LIDAR scans and CAD data of the ve­hi­cles, and went to work re­build­ing each one of them to ac­com­mo­date the var­i­ous amounts of dam­age they re­ceive through­out the se­quence. Luma went as far as to re­build the ex­te­rior and in­te­rior of these ve­hi­cles, and even build out the en­tire driv­e­train – the en­gine, en­gine bay, en­gine bay com­po­nents, trans­mis­sion and so forth – sus­pen­sion and parts of the un­der­body like the brake sys­tems, cross mem­bers, ex­haust sys­tems, even down to the spare tire and brake lines of these cars. We knew they would be re­ceiv­ing a sig­nif­i­cant amount of dam­age, so we didn’t want to limit our­selves to what could be shown on screen.”

There were eight ad­di­tional sup­port­ing ve­hi­cles used through­out the se­quence: four of them were used to prop­a­gate ad­di­tional traf­fic on the streets of Bu­san, and the other four ve­hi­cles were dig­i­tally cre­ated for the ‘Claw Drag’ se­quence. These four cre­ated the wall of cars that crash, pile up and block the in­ter­sec­tion that causes Black Pan­ther to pull the Lexus LC 500 up onto two wheels. Through­out this por­tion of the se­quence, all of the cars (in­clud­ing the Lexus and Black Pan­ther) are full Cg.

“And just for kicks,” adds Zink, “we built four Cg scoot­ers which were used to dig­i­tally en­hance a crash scene. The Cg scoot­ers were de­mol­ished and their parts scat­tered across the streets of Bu­san.”

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