Los Angeles Times

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The captivatin­g sci-fi series designed its visual effects to “honor cinematic reality” with an in-camera first approach. “VFX wanted to backstop story, acting and directing with concrete and visceral visuals,” says overall VFX producer Addie Manis, who shares duties with overall VFX supervisor Chris MacLean and VFX supervisor Mike Enriquez.

Each VFX shot is crafted in a way a cinematogr­apher could do so in terms of camera position, speed and lens choice. “We wanted the grit and weight of a physical camera even when the scenes are happening in open space,” MacLean says. “Even in full CG work, the digital is rooted in practical scans, miniatures, special effects, stunts, reference photograph­y and matched into intercut physical locations.”

For its signature faster-than-light space travel, which bends space and time, VFX referenced the slit scan effect from “2001: A Space Odyssey.” “We shot real elements, like high-speed cloud tanks [to simulate realistic clouds] and burning wire wool [for sparks] that became the basis for the look,” Enriquez says. “These elements were then integrated and used as reference by the CG artists to generate the wild ride.”

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