scan­line vfx and Luma pic­tures moved moun­tains to gen­er­ate the cg im­agery. here’s how they did it


Run­ning ex­ten­sive Hou­dini de­signs and comp­ing ex­plo­sions, vir­tual suits and car chases in nuke, the pro­duc­tion had the stu­dios pump­ing red hot num­bers out of their ren­der farms. “When you’re out on set” says Bryan grill, VFX su­per­vi­sor at scan­line VFX, “it’s very im­por­tant to get all your prac­ti­cal el­e­ments to­gether. The story, main char­ac­ters and stunts. But when it comes into post, it’s a dif­fer­ent world and we can re­ally use VFX to gen­er­ate some in­cred­i­ble fi­nal re­sults.”

The en­tire show, in­clud­ing the Cg cars, was ren­dered in Arnold via Katana. “Black Pan­ther was sched­uled right off the back of a tran­si­tional stage in our pipe­line,” ex­plains Luma Pic­tures Mel­bourne Cg su­per­vi­sor, An­drew Zink. “We be­gan the tran­si­tion from Maya to Katana through in­cre­men­tal stages of projects (start­ing with ex­e­cut­ing small iso­lated se­quences) and through those iso­lated bench­mark projects, we be­came con­fi­dent in the tech and dev to make the full leap into the new soft­ware. Katana of­fers our stu­dio the flex­i­bil­ity and mus­cle to grow with us as the projects we ex­e­cute in­crease in scope and tech­ni­cal chal­lenges.”

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