Dima Malanitchev came up with the drawings for the creatures with Csupó's guidance. Csupó chose to have Weta Digital render the 3D animation because he "was impressed with their artistic integrity, the teamwork, the [fact that] people were really nice, and also they responded to our designs very positively". Weta modified some of the creature designs, but ultimately remained faithful to Csupó's original designs. There were around 100 crew members from Weta working on the effects for the film. Weta was already working on animating the creatures while the film was being shot, and Weta crew members were on-set for all the scenes that involved special effects during the filming.
Design and effects
Bridge to Terabithia (2007 film)
Bridge to Terabithia (2007 film) | Design and effects
Weta Digital. Dima Malanitchev, Csupó Weta Digital Weta visual effects supervisor Matt Aitken
who is josh hutcherson?
user
He is an American actor and producer.
assistant
does he own any production company?
user
No.
assistant
what was his role in the film that gave him a breakthrough?
user
Jesse Aarons.
assistant
and which movie was it?
user
Bridge to Terabithia.
assistant
what is the storyline of it?
user
It tells the story of bullied kids Jesse Aarons and Leslie Burke, 12-year-old neighbors who create a fantasy world called Terabithia and spend their free time together in an abandoned tree house.
assistant
who sort of film is it?
user
Sorry. I cannot find the answer based on the context.
assistant
what is its genre?
user
Fantasy adventure film.
assistant
who managed the graphical effects?
user
Csupó explained that "it was a very conscious decision from the very beginning that we're not going to overdo the visual effects because of the story's integrity and the book's integrity", because there was only a brief mention of Jess and Leslie fighting imaginary creatures in the forest in the novel. With that in mind, they "tried to do the absolute minimum, which would be required to put it into a movie version". In designing the fantasy creatures found in Terabithia, Csupó wanted to make creatures that were "little more artsy, imaginative, fantastical creatures than the typical rendered characters you see in other movies", and drew inspiration from Terry Gilliam and Ridley Scott.
Bridge to Terabithia (2007 film) | Design and effects
Weta visual effects supervisor Matt Aitken explained that process involved in interpreting the creatures was "split into two steps". First, natural-looking creatures were created based on pencil sketches by Csupó and Malanitchev, and this was done mostly through Photoshop collages done by visual effects art director Michael Pangrazio. The second step was to figure out animation or motion styles that best suited these creatures.
Bridge to Terabithia (2007 film) | Design and effects
Dima Malanitchev came up with the drawings for the creatures with Csupó's guidance. Csupó chose to have Weta Digital render the 3D animation because he "was impressed with their artistic integrity, the teamwork, the [fact that] people were really nice, and also they responded to our designs very positively". Weta modified some of the creature designs, but ultimately remained faithful to Csupó's original designs. There were around 100 crew members from Weta working on the effects for the film. Weta was already working on animating the creatures while the film was being shot, and Weta crew members were on-set for all the scenes that involved special effects during the filming.
Bridge to Terabithia (2007 film) | Design and effects
"Entertainment Weekly"s Gregory Kirschling was confused by the main characters' lack of excitement towards Terabithia, and felt the film could not decide if it was "a fantasy or a coming-of-age story".
Bridge to Terabithia (2007 film) | Critical reception
Production for the film began on February 20, 2006, with a budget of $20–25 million. Principal photography for the film was shot in Auckland, New Zealand within 60 days. Film editing took ten weeks, while post-production, music mixing, and visual effects took a few months. The film was finished by November 2006, because the crew "had to rush" to meet the February 16 deadline. The film was directed by Nickelodeon's "Rugrats" co-creator and former Hanna-Barbera animator Gábor Csupó, who was first recommended for the job by Walden Media President Cary Granat. Although Csupó had never worked on a live-action film before, it "didn't worry Granat in the least".
Bridge to Terabithia (2007 film) | Overview
When he asked his mother if he could write a screenplay of the novel, she agreed in part because of his ability as a playwright. Production began in February 2006, and the film was finished by November. Principal photography was shot in Auckland, New Zealand, within 60 days. Film editing took ten weeks, while post-production, music mixing, and visual effects took several months. This was Michael Chapman's last film as cinematographer before his retirement. "Bridge to Terabithia" was released to positive reviews; critics called it a faithful adaptation of the children's novel, and found that dynamic visuals and natural performances further enhanced the imaginative film.
Bridge to Terabithia (2007 film) | Introduction
The promotion and advertising for the film was met with criticism and controversy. The filmmakers distanced themselves from the advertising campaign for the film, saying that it was deliberately misleading and made the film seem to be about, or occurring in, a fantasy world. David Paterson was surprised by the trailer, but understood the marketing reasoning behind it, saying: Critics commented on the film's misleading advertisement campaign. One critic said the film was actually "grounded in reality far more than in fantasy", while another thought, "far from a computer generated escapist fantasy, this film is an unpretentious and touching tale of preteen companionship and loss".
Bridge to Terabithia (2007 film) | Marketing and promotion
When it starts raining, they decide to leave, and Jess looks on smiling as Leslie goes home.
Bridge to Terabithia (2007 film) | Plot
Csupó noted that the two main characters are a little bit older in the film than they are in the book. Csupó reasons that the movie "deals with so many issues including friendship, and maybe first innocent love, things like that", so it "made more sense" to make the characters older.
Bridge to Terabithia (2007 film) | Writing
The film premiered at the El Capitan Theatre in Hollywood on February 16, 2007. Paterson, an alumnus of the Catholic University of America, held a special advance screening of the film for members of the CUA community at the AFI Silver Theatre in Silver Spring, Maryland on February 1, 2007. The film opened in the United Kingdom on May 4, 2007, and in New Zealand June 7, 2007. The film had a strong second place domestic opening over the Presidents' Day weekend, grossing "a higher-than-expected" $28,536,717 from 2,284 screens, earning an average of $9,885 per screen. The opening Friday box office was $6.3 million.
Bridge to Terabithia (2007 film) | Distribution
The cast won the award for "Best Performance in a Feature Film – Young Ensemble Cast", which included Hutcherson, Robb, Madison, Wakefield, Clinton, Lawless, Isabelle Rose Kircher, Carly Owen, Devon Wood, Emma Fenton and Grace Brannigan.
Bridge to Terabithia (2007 film) | Accolades
He also said that he took on the role because he wanted to star in a film that his children could watch.
Bridge to Terabithia (2007 film) | Casting
Bridge to Terabithia is a 2007 American coming-of-age fantasy adventure film directed by Gábor Csupó and adapted for film by David L. Paterson and Jeff Stockwell. The film, starring Josh Hutcherson, AnnaSophia Robb, Robert Patrick, Bailee Madison, and Zooey Deschanel, and released by Walt Disney Pictures in the United States, is based on Katherine Paterson's 1977 novel of the same name. "Bridge to Terabithia" tells the story of bullied kids Jesse Aarons and Leslie Burke, 12-year-old neighbors who create a fantasy world called Terabithia and spend their free time together in an abandoned tree house. The original novel was based on events from the childhood of the author's son, screenwriter David Paterson.
Bridge to Terabithia (2007 film) | Introduction
The film has a worldwide gross of US$137 million, taking in $82 million in the US and Canada. The DVD and Blu-ray Disc were released on June 19, 2007 in the US. The DVD and high-definition Blu-ray version shared the same special features; including: "Digital Imagination: Bringing Terabithia to Life", "Behind the Book: The Themes of "Bridge to Terabithia"", "Keep Your Mind Wide Open" music video by Robb, and two audio commentaries, the first with director Gábor Csupó, writer Jeff Stockwell, and producer Hal Lieberman, and the second with producer Lauren Levine and actors Hutcherson and Robb.
Bridge to Terabithia (2007 film) | Distribution
Csupó stated that he was interested in making the film because he "had the ambition to do a live-action film for a long time", but that he "didn't like anything until I read this book". He described the book as "beautiful" and said that it "moved [him]". "Bridge to Terabithia" was cinematographer Michael Chapman's final film before his retirement. Chapman mentioned in the film's DVD commentary that he retired after shooting this film because he wanted his last film to be a good one; "this is such a beautiful story, and it's exactly the kind of movie I want to do at this time in my life".
Bridge to Terabithia (2007 film) | Overview
There is no glossing-over; nor is there a reaching for dramatic effect."
Bridge to Terabithia (novel) | Reception
Ann Hornaday of "The Washington Post" praised the script for being "utterly recognizable and authentic", and thought Robb and Hutcherson were "perfectly cast". Hornaday wrote that although the final five minutes succumbed to "oversweet sentiment", viewers would remember the film's "warmth and respect with which it pays homage to first love". Jessica Grose of "The Village Voice" commended director Csupó for omitting "cutesy tween stereotypes", and felt Jess's relationship with his father elevated "Bridge to Terabithia" from "a good kids movie to a classic contender." "The New York Times" critic Jeannette Catsoulis believed that the fantasy was kept in the background "to find magic in the everyday", and thought Csupó directed "like someone intimate with the pain of being different, allowing each personality more than a single characteristic".
Bridge to Terabithia (2007 film) | Critical reception
The film features a musical score by Aaron Zigman, who was hired after Alison Krauss backed out of the job. Zigman mentioned that there are similarities between the music he composed for "Bridge to Terabithia" and the film "Flicka" in that "...at times there's a bit of a Celtic influence but not much", but he also went on to say that there was a more modern feel to the music he composed for "Bridge to Terabithia". He did so as Csupó requested him to not compose "your typical Hollywood Score"; he then mixed up orchestral melody with "a bit of a modern flavor." The score he composed for the film is described as "very large" compared to his other work, and Zigman commented that "Aside from the minimalist stuff and coloring that I love to do, I also like big orchestral stuff, and want to do more of that, and this film enabled me to spread my wings out a bit." The official soundtrack for the film was released as "Music from and Inspired by Bridge to Terabithia" by Hollywood Records on February 13, 2007.
Bridge to Terabithia (2007 film) | Soundtrack
Puig called the film a "serviceable translation" of the novel, but thought the adult characters were caricatured. Puig found the real-life portions of the movie were "derivative and simplistic", but found Jess's emotional tumult felt "powerfully authentic, and this is where the film finds its truth and soul". "The Wall Street Journal" critic Joe Morgenstern felt that despite the occasional misuse of enchantment—"brief spasms of overproduced fantasy"—the novel's screen adaptation was told with "agreeable simplicity in between computer-generated monsters". Morgenstern was disappointed with the performances by the young members of the cast, which he described as "appealing but unpolished". Morgenstern thought Csupó lacked experience directing actors, and that although Deschanel was the best adult performer, she seemed self-directed.
Bridge to Terabithia (2007 film) | Critical reception
The most important thing for Paterson was to keep the spirit of the book alive while finding a way to transform it from "a novel that takes place mostly in the characters' heads to a dynamic visual medium". Paterson knew that the film had to be about friendship and imagination. While Paterson focused on "bringing out the emotions of the story," he admitted to having difficulty writing about Terabithia "because it was too close". He credited fellow screenwriter Jeff Stockwell for recreating Terabithia for the film. "What Jeff was able to do as an outsider who wasn't so attached to the story was to really let his imagination go free and make up this world in a wonderful way", David said.
Bridge to Terabithia (2007 film) | Writing
Bridge to Terabithia is a 1985 Canadian-American made-for-television fantasy drama film produced for the PBS series "WonderWorks", starring Annette O'Toole, Julian Coutts, and Julie Beaulieu. It was shot in Edmonton, Alberta. It is based on the 1977 children's novel of the same name by Katherine Paterson. The story was inspired by the death of Lisa Hill, the best friend of Katherine Paterson's son David, who was struck and killed by lightning when she was eight years old. In a 2007 interview, David, who later co-wrote the 2007 movie version, referred to this version as being "like the crazy cousin in a mental hospital that nobody talks about" and goes on to say that "no one on our side was either involved with it or happy with the final product."
Bridge to Terabithia (1985 film) | Introduction
"Bridge to Terabithia" was nominated for seven awards and won five at the Young Artist Awards.
Bridge to Terabithia (2007 film) | Introduction
Together they venture into the woods, where they go across a creek on the trunk of a partially fallen tree, and later build a "castle" (actually a small shed) on the other side. Here, they invent a whole new world, Terabithia, and it comes to life through their eyes, which they explore together. They base the Creatures of Terabithia on the people that give them a hard time at school. Their teacher, Miss Edmunds (Annette O'Toole), notices Jess' artistic skills and decides to take him on a field trip to an art museum. He has an unspoken crush on her and does not want to share the trip with Leslie, so he goes without inviting her.
Bridge to Terabithia (1985 film) | Plot summary
With their belief in their imagination, the magical world, which is a reflection on their lives, comes to life through their eyes the more they explore. For the next few days, Jess and Leslie spend their free time in the treehouse getting to know each other. Leslie gives Jess an art kit on his birthday, much to his delight. Jess becomes angry with his father's attitude to him, losing his belief, and refuses the existence of Terabithia the next day at school. Afterward, Jess apologizes to Leslie by giving her a puppy, whom she names Prince Terrien (P.T). Once in Terabithia, they encounter various creatures, including a giant troll resembling Janice, squirrel-like creatures resembling Hoager, whom they name the 'Sqoagers', and 'Hairy Vultures' resembling Fulcher.
Bridge to Terabithia (2007 film) | Plot
"Bridge to Terabithia" received positive reviews from film critics. Review aggregation website Rotten Tomatoes gives the film a score of 85% based on 158 reviews, with an average rating of 7.2/10. The site's consensus reads: ""Bridge to Terabithia" is a faithful adaptation of a beloved children's novel and a powerful portrayal of love, loss, and imagination through children's eyes." On Metacritic the film received a weighted average score of 74% based on 25 reviews, indicating "generally favorable reviews". Audiences surveyed by CinemaScore gave the film a grade A-. James Berardinelli of ReelViews called "Bridge to Terabithia" "easily the best family feature of the early year".
Bridge to Terabithia (2007 film) | Critical reception
"Bridge to Terabithia" was nominated for seven awards, of which it won five. Josh Hutcherson was nominated at the 2008 Saturn Awards for "Best Performance by a Younger Actor". AnnaSophia Robb was nominated for a Broadcast Film Critics Association Award for "Best Young Actress". The film won five awards at the Young Artist Awards, including "Best Family Feature Film (Fantasy or Musical)". Hutcherson won "Best Performance in a Feature Film – Leading Young Actor", Robb won "Best Performance in a Feature Film – Leading Young Actress", and Bailee Madison won "Best Performance in a Feature Film – Young Actress Age Ten or Younger".
Bridge to Terabithia (2007 film) | Accolades
Visual effects were provided by Weta Digital and supervised by Ken McGaugh, Kevin Smith and Luke Millar. Weta designed the moving cities to actual scale in CG, which required building layout "puppets" that represented the different city tiers.
Mortal Engines (film) | Visual effects
Producer and screenwriter David L. Paterson is the novel's author's son, and his name was featured on its dedication page. The story was based on his real-life best friend, Lisa Hill, who was struck by lightning and killed when they were both eight years old. Paterson had asked his mother, Katherine Paterson, if he could write a screenplay of the novel, and she agreed "not only because he's [her] son, but also because he's a very good playwright". Paterson had difficulty marketing the screenplay, mostly because of Leslie's death; "if you can believe this, I did meet with some companies that asked if I could just 'hurt' Leslie a little bit—put her in a light coma and then bring her out".
Bridge to Terabithia (2007 film) | Writing
When Jess returns home, his family is worried sick, as they neglected to listen when he said he was going, then tells him the horrific news: Leslie died after trying to cross the fallen tree over a rain-swollen creek, only to fall in and drown, possibly hitting her head in the fall. Jess grieves for her, and he and his parents visit hers together.
Bridge to Terabithia (1985 film) | Plot summary
The reviewer praised all the leads for their strong performances, especially Deschanel and Madison. Catsoulis found the film was able to handle adult topics "with nuance and sensitivity", and being consistently smart and "delicate as a spider web", it was the kind of children's movie "rarely seen nowadays". Miriam di Nunzio of the "Chicago Sun-Times" praised Hutcherson and Robb's performances, saying that "the film's heart and soul rests on the abilities of its young lead characters to make us really see the world through children's eyes. The dynamic duo of Hutcherson and Robb do not disappoint." Not all reviews were as positive, Claudia Puig of "USA Today" wrote that "for a movie about the power of imagination, "Bridge to Terabithia" is not as clever as you would hope".
Bridge to Terabithia (2007 film) | Critical reception
Two films have been made based on the novel, both with the original title. One was a PBS TV movie made in 1985, starring Annette O'Toole, Julian Coutts, and Julie Beaulieu. The second was a theatrical film released on February 16, 2007, directed by the co-creator of Nickelodeon's Rugrats Gabor Csupo and starring Josh Hutcherson, AnnaSophia Robb, Robert Patrick, Bailee Madison, and Zooey Deschanel; the adaptation was done in part by David Paterson himself. While the giant troll was adapted, the Dark Master, Squogers (a race of squirrel/ogre-like creatures), Hairy Vultures, and many unidentified creatures were created for the film.
Bridge to Terabithia (novel) | Adaptations
Effects engineer Hideo Arikawa supervised the operation of wire-operated props, miniatures, pyrotechnics, and the scorpion props. Due to his father's acquaintance with Eiji Tsuburaya, Yuasa was able to pull resources from Tsuburaya Productions for the film's effects. At times, Yuasa was forced to change set ups for effects shots when Tanaka would change his mind at the last minute. Yuasa protested to the studio chief after discovering that some of his effects footage was being cut from the assembly, stating, "I'm the director of special effects! Don't change this cut!" The shrieking sounds for the cave bats were originally produced for the rat creatures for the unproduced film "Nezura".
Gamera vs. Barugon | Special effects
In the 1977 book, Leslie went to school the first day wearing a T-shirt and cut-offs. In the 2007 movie, Leslie's clothes were outrageous and colorful, primarily because of the time alteration between the novel and film. She also has on armwarmers.
List of Bridge to Terabithia characters | Fashion
Later that day, Jess becomes frustrated when he finds that May Belle has drawn in his notebook, but his strict yet caring father (Robert Patrick) ignores it. Jess later watches them gardening together and is hurt that his father does not spend time with him. Moreover, his mother cherishes her daughters more than him. One day at school, Leslie compliments Jess' drawing ability and they become friends. After school, they venture into the woods and swing across a creek on a rope. Jess and Leslie find an abandoned treehouse on the other side and invent a new world, which they call Terabithia.
Bridge to Terabithia (2007 film) | Plot
All the other characters were added digitally. The explosion of the bridge in one of the final scenes used nine cameras to capture the shot, and the crew was required to be away for their safety.
Tropic Thunder | Effects
Impressed with the film's script, V. Srinivas Mohan became the visual effects supervisor in December 2007. He asked Shankar to increase the filming schedules by six months to include pre-production requirements. Both Mohan and Shankar visited several visual effects companies, including the New Zealand-based Weta Digital and the United States-based Industrial Light & Magic, Cafe FX and Tippett Studio before partnering with Legacy Effects. The original Eros-Ayngaran visual effects budget was 700 million, but after Sun Pictures took over production, it was significantly reduced to 200 million. As a result, the visual effects team had to omit and alter some sequences, making Chitti wear sunglasses for most of the film to reduce the cost and difficulty of animating his eyes.
Enthiran | Visual effects
Director Csupó stated that they had no actors initially in mind for the film. The first actor cast was AnnaSophia Robb as Leslie Burke. Robb wrote Csupó "such a beautiful, heartwarming letter" that expressed her love for the book and the character. Csupó said that he cast her because of "her letter, her enthusiasm, and her love of the material". Robb also conversed with producer Lauren Levine before casting even began, and "their conversation convinced her that, without a doubt, AnnaSophia was meant for this role". Levine said that "it was just so clear in talking to her about all this fantasy that I was basically talking to Leslie, that she had that same kind of spark and magical presence.
Bridge to Terabithia (2007 film) | Casting
Other visual effects that were created were the Thames flood plain and a remote Scottish castle. A popular effect with the visual effects crew was the "rabbit explosion" scene, depicting a rabbit being shot by guns on automatic sensors. The crew sought to expand the singular shot, but Neil Marshall sought to focus on one shot to emphasise its comic nature and avoid drawing unnecessary sympathy from audiences.
Doomsday (2008 film) | Visual effects
For the scenes in the stadium, CG extension was slightly above 50%. For the stadium, Italian concept artist Marco Rolandi began with a CAD drawing and made his first 3D concept in 5 days. It took five months for Marco to reach the design shown in the film and as imagined by Rajamouli. Simultaneously, Iranian 3D technical director Adel Adili, who worked with Kamalakannan for "Anji" (2004), "Yamadonga" and "Arundathi" (2009), was working on the 3D Udayghad city. He started with a city-plan and added streets, buildings, mountains, temples, palaces, water bodies, a huge waterfall, rivers, gates, a moat and trees, all of which were planned and received Rajamouli's approval before being executed to full scale.
Magadheera | Visual effects
The computer effects were done by Station X and Blankety Blank. Station X's founder, Grant Boucher, had experience in writing for "" and offered free advice to the production crew of the film despite not officially considered part of the production. When filming began, Boucher predicted a total of around 200 shots with digital effects and 75 dragons in the film's climax. After filming finished, Solomon claimed the number of shots with digital effects to be 550 and computer-generated settings and characters to be 15, with more than 150 dragons in the climatic showdown. Allen Crawford, a Station X animator, declared four months of computer effects work was spent on the movie's first minute.
Dungeons &amp; Dragons (film) | Digital effects
People and cars were added in later as elements of computer-generated graphics. Chris Lebenzon was largely responsible for moving clips from each of the sixteen cameras in place to create the sensation of an extended explosion sequence. The spectacular explosion actually caused no significant structural damage to the ferry; after a bout of sandblasting and repainting, the ferry was very similar to its previous state. The ferry was returned into service four days after the production of the film's scene concluded. During filming of the underwater car scenes, actual cars were dropped into the water; computer-generated effects were later added, simulating the entities' explosions.
Déjà Vu (2006 film) | Visual effects
10-year-old Jess Aarons (Julian Coutts) is an aspiring yet shy fifth grader living in a financially struggling family. 10-year-old Leslie Burke (Julie Beaulieu) is the new girl at his school, just arriving on its athletics day. She enters a running event which she wins with ease, despite her classmates calling it a "boys only" race. Jess is, at first, quite sour about this and wants nothing to do with her, but her persistence in meeting him soon pays off, with them becoming friends. He shares his secret love of drawing with her; she shares with him her love of fantasy stories.
Bridge to Terabithia (1985 film) | Plot summary
To create the scene at the Tree of Woe, the crew tethered live vultures to the branches, and created a mechanical bird for Schwarzenegger to bite. The dummy bird's feathers and wings were from a dead vulture, and its control mechanisms were routed inside the false tree. According to Sammon, "one of the greatest special effects in the film [was] Thulsa Doom's onscreen transformation into a giant snake". It involved footage of fake body parts, live and dummy snakes, miniatures, and other camera tricks combined into a flowing sequence with lap dissolve. After Jones was filmed in position, he was replaced by a hollow framework with a rubber mask that was pushed from behind by a snake head-shaped puppet to give the illusion of Doom's facial bones changing.
Conan the Barbarian (1982 film) | Mechanical effects
Regarding the performance, Bill Warren notes that the "kid actors are exceptionally good, particularly Josh Hutcherson..." Chris Barsanti writes that Hutcherson portrays Aarons "with sullen inattention..."
List of Bridge to Terabithia characters | Reception
The ship's interior was influenced by the design of a nuclear submarine that filmmakers had visited in Scotland, though the space was larger due to NASA's advice that smaller quarters would adversely affect the crewmembers' sanity. The corpses of burn victims in the film were modelled on the Pompeii victims from the Mount Vesuvius eruption.
Sunshine (2007 film) | Design and visual effects
The visual effects for "Doomsday" stemmed from the 1980s stunt-based films, involving approximately 275 visual effects shots. While filmmakers did not seek innovative visual effects, they worked with budget restrictions by creating set extensions. With most shots taking place in daylight, the extensions involved matte paint and 2D and 3D solutions. The visual effects crew visited Scotland to take reference photos so scenes that were filmed in Cape Town, South Africa could instead have Scottish backgrounds. Several challenges for the visual effects crew included the illustration of cow overpopulation in line with a decimated human population and the convincing creation of the rebuilt Hadrian Wall in different lights and from different distances.
Doomsday (2008 film) | Visual effects
According to director Takashi Tokita, the scenario writer and lead game designer of the original release, three quarters of the original script had been left out of the original Super Famicom version. In a Q&A feature on the official Square Enix Members page, Tokita corrected this by saying that the original story script was never cut, but during the development of the original release, the game's text could not fit and had to be revised to a quarter of its intended size.
Final Fantasy IV (2007 video game) | Development
When two studio executives were shown shots of the computer generated character, they believed it was actually Maguire performing stunts. In addition, Dykstra's crew had to composite areas of New York City and replaced every car in shots with digital models. Raimi did not want it to feel entirely like animation, so none of the shots were 100% computer-generated.
Spider-Man (2002 film) | Visual effects
This is a list of characters that appear in the 1977 children's novel "Bridge to Terabithia", and the 1985 telefilm and 2007 film adaptation.
List of Bridge to Terabithia characters | Introduction
After a series of previsualisation tests, including a scene in which Chitti jumps on a train to save Sana, Mohan eventually decided to use the technique in 40 out of the 60 visual effects scenes featured in the film, consisting of 2,000 takes. Further previsualisation supervision was conducted by P. C. Sanath of Firefly Creative Studios, a visual effects company based in Hyderabad. 3D storyboards were constructed using 3D animation programs for every scene in the film and were shot from different angles. In an interview with Malathi Rangarajan of "The Hindu", Mohan said all the pre-production work took one-and-a-half years to complete.
Enthiran | Visual effects
Production designer Samir Chanda built three identical bridges to facilitate the scene to be captured from different angles. Though initially planned to be built either in Sri Lanka, Australia or South Africa, the bridge was constructed in Mumbai to reduce costs. While bad weather and heavy rains disrupted shoot for a few days, the forest department filed cases against some crew members for trespassing. The film went into post-production by the end of 2009.
Raavan | Filming
From the beginning, Kitase knew he wanted a thematic combination of fantasy and realism. To this end, he aimed to include a cast of characters who appeared to be ordinary people. Character designer and battle visual director Tetsuya Nomura and art director Yusuke Naora strove to achieve this impression through the inclusion of realistically proportioned characters—a departure from the super deformed designs used in the previous title. Additionally, Naora attempted to enhance the realism of the world through predominantly bright lighting effects with shadows distributed as appropriate. Other measures taken included implementing rental cars for travel in-game, and the use of motion capture technology to give the game's characters lifelike movements in the game's full motion video sequences.
Final Fantasy VIII | Visual design
Production credits Due to the success of "The Birds" and Toho's "Godzilla" films, Masaichi Nagata, the then-President of Daiei Film, wanted to produce a similar film and developed "Dai gunju Nezura" (), a film that would have featured overgrown rats attacking Tokyo. The film project was assigned to Yonesaburo Tsukiji to direct the special effects and Noriaki Yuasa to direct the film, despite the studio thinking Yuasa was a "wash-out". Yuasa became attached to the film due to other directors refusing to accept the assignment, feeling that the film and its genre were beneath them and would have ended their careers.
Gamera, the Giant Monster | Production
The lead visual effects company was Weta Digital in Wellington, at one point employing 900 people to work on the film. Because of the huge amount of data which needed to be stored, cataloged and available for everybody involved, even on the other side of the world, a new cloud computing and Digital Asset Management (DAM) system named Gaia was created by Microsoft especially for "Avatar", which allowed the crews to keep track of and coordinate all stages in the digital processing. To render "Avatar", Weta used a server farm making use of 4,000 Hewlett-Packard servers with 35,000 processor cores with 104 terabytes of RAM and three petabytes of network area storage running Ubuntu Linux, Grid Engine cluster manager, and 2 of the animation software and managers, Pixar's RenderMan and Pixar's Alfred queue management system.
Avatar (2009 film) | Visual effects
Justin Burnett was hired as "Dungeons & Dungeons" composer, beginning with scoring the test sequence Solomon filmed to convince Silver to become executive producer; the director ordered Burnett to create a John Williams-esque score, specifically in the style of "Raiders of the Lost Ark", which was a change of the rock orchestral rock style he used when composing for German television series. It was the composer's third full-length film and his first to use live symphonic orchestra arrangements, with samples for percussion and a few ethnically-tinged instruments; with a "mock-up" score written in a digital sequencer, it was then performed by the Perth Symphony Orchestra in seven recording sessions engineered by Mal Luker.
Dungeons &amp; Dragons (film) | Music
There were also concepts originally planned to be practical effects but were computer-generated in the final edit; this included the gyroscope that holds the scepter, which was initially a machine-controlled device where all attempts for the motors to control it properly failed, and Dexter the pocket dragon which was planned to be an animatronic dragon. For the dragons, the animators focused the most on their flying and diving cycles, using hawks and eagles as references, as well as their skin, where reptiles such as crocodiles were observed in producing the textures. While the dragons were computer-generated, the fire they blew was done using practical effects, and to be digitally incorporated, the flame throwers were filmed outside during the night time and blown into a steel set hanging on its side.
Dungeons &amp; Dragons (film) | Digital effects
Spielberg did not want any blood or gore during the Heat-Ray deaths; in the words of Helman, "this was going to be a horror movie for kids". So the effects crew came up with the vaporization of the bodies, and considering it could not be fully digital due to both the complexity of the effect and the schedule, live-action dust was used alongside the CGI ray assimilation and particles. Digital birds followed the Tripods in most scenes to symbolize the presence of death, which Chiang compared to vultures and added that "you don't know if these birds are going to the danger or away from it, if you should follow them or run away."
War of the Worlds (2005 film) | Design and visual effects
Speaking about the practical effects, he stated that acting with physical props "is much better than working with tennis balls [as markers]". However, in post-release interviews, Alec Gillis revealed that while Amalgamated Dynamics creature designs for the film remained intact, most of their practical effects ended up being digitally replaced in post-production. The creation of Gillis's all-practical-effects independent horror film "Harbinger Down" was partially in response to this. Stunt men covered in fire-retardant gel were used in scenes when characters are set on fire. The original Ennio Morricone score was reflected in the film's score, but it was initially reported that Morricone did not score the film, nor was his music from the 1982 version used.
The Thing (2011 film) | Filming and post-production
To achieve the face capturing, actors wore individually made skull caps fitted with a tiny camera positioned in front of the actors' faces; the information collected about their facial expressions and eyes is then transmitted to computers. According to Cameron, the method allows the filmmakers to transfer 100% of the actors' physical performances to their digital counterparts. Besides the performance capture data which were transferred directly to the computers, numerous reference cameras gave the digital artists multiple angles of each performance. A technically challenging scene was near the end of the film when the computer-generated Neytiri held the live action Jake in human form, and attention was given to the details of the shadows and reflected light between them.
Avatar (2009 film) | Visual effects
An advantage to this approach was that it added a layer of realism to the production. The disadvantage was that it restricted where director Shane Abbess could place the camera. Abbess crammed the camera into corners to shoot scenes. The set Lam is most proud of is one of the Fallen's underground lairs. To dress this set, Lam and his team hung fences, fake blood and plastic chains painted to look metallic around an abandoned shooting stage in Gore Hill. Lam says, "The lead actor just came up and went, 'Wow, that's really cool!' And we said, 'Yeah! And it cost us nothing!'" Shane Abbess instructed the art department to include lots of fake blood and gore; Lam describes this as "video game influence." He also acknowledges that his work has a strong comic book influence.
Gabriel (2007 film) | Design
ILM was responsible for the visual effects for many of the film's specialized vehicles and devised a new way to make CGI explosions. Joe Letteri was the film's visual effects general supervisor.
Avatar (2009 film) | Visual effects
Given that "Dungeons & Dragons" was filmed in Prague, some of the special effects work also took place there, with computer-generated work done in Britain and Germany. The special effects team consisted of George Gibbs, Martin Astles, and Matthew O'Toole of Bob Keen's company Image Effects. Given that the city's local sites were extremely cheap, with Solomon hyperbolizing that "sometimes our daily budget was like 15 US dollars," that made room for a high effects budget of $13 million. However, the effects team had some difficulties. Most of the conception process involved members coming up with various concepts but never agreeing to final designs, meaning compromises had to be determined under deadlines during filming; Astles suggested more time could've been saved if the crew simply borrowed from "Dungeons & Dragons" books instead of trying to "cleverly expand" the game's universe.
Dungeons &amp; Dragons (film) | Practical effects
Beyond the backyard was a new housing development, so the crew erected a fence around the yard to block the construction vehicles and workers from view. The effects used to create the demons included stop-motion animation as well as forced perspective, wherein actors wearing rubber suits were made to look minuscule by their position relative to the camera and to the human characters. Randall William Cook, the film's special effects supervisor, used his hand and eye to create the scene where an eyeball appears in Glen's palm.
The Gate (1987 film) | Production
Over 450 graphic designers were chosen for the project, the largest team ever assembled for a Sony Pictures Imageworks-produced movie as of 2007. Designers at Imageworks generated new animation tools for facial, body and cloth design especially for the movie, and elements of keyframe animation were incorporated into the film in order to capture the facial expressions of the actors and actresses. The mead hall battle scene near the beginning of the film, among others, required numerous props that served as additional markers; these markers allowed for a more accurate manifestation of a battlefield setting as the battle progressed. However, the data being collected by the markers slowed down the studios' computer equipment and five months were spent developing a new save/load system that would increase the efficiency of the studios' resources.
Beowulf (2007 film) | Animation and visual effects
"Prince Caspian" has over 1,500 special effects shots, more than "The Lion, the Witch and the Wardrobe"'s 800 effects shots, yet the film had less time to complete them. The scale of special effects led Andrew Adamson to base production in the UK, to take advantage of new tax credits. Therefore, it legally qualifies as a British film. This also meant the director only had to walk five minutes from the editing room to supervise the effects. British visual effects companies the Moving Picture Company and Framestore CFC were hired to create the visual effects alongside Weta Digital. Framestore worked on Aslan, Trufflehunter and the door in the air; Scanline did the River-god; Weta created the werewolf, the wild bear and Miraz's castle; MPC and Escape Studios did the main battle, the tunnel scene, the castle assault, the council scenes and all the other creatures.
The Chronicles of Narnia: Prince Caspian | Effects
He also said that the presence of voice actors led him to make various changes to the script, in order to match the voice actors' personalities with the characters they were portraying. The inclusion of voice, however, led to difficulties. With the game's cutscenes already programmed around the Japanese voice work, the English localization team faced the difficulty of establishing English-oriented dialogue and the obstacle of incorporating this modified wording with the rhythm and timing of the characters' lip movements. Localization specialist Alexander O. Smith noted that they had to keep the localized sound file within the duration of the original Japanese, as longer files would cause the game to crash.
Final Fantasy X | Design
The project took a year and a half to develop. J. Thaddeus Skubis, also known as Mindcrime, was responsible for writing, recording and editing the film, as well as performing the voice work for all characters. Most of the rest of the team worked on maps and coding for the project. As the modified "QSG Quake" demo format used in the engine was not compatible with the "Quake" demo editing software of the time, most of the external editing was performed via a Hex editor. Internally, the camera was mostly manually controlled by Skubis. A command was implemented into the game allowing a recording in progress to be paused and unpaused as needed.
The Seal of Nehahra | Production
Cain remembers that ideas came swiftly, and they were happy with the outline of the game. Cain, Anderson and Boyarsky worked on the initial design of "Arcanum" by themselves for five months until they landed a contract by with Sierra Entertainment, which let them expand the team to 12 people. Because "Arcanum" was made with a modest sized team (later increased to 14 people), Anderson took on a number of different responsibilities. These included art, movies, design, dialogue, scripting, music and sound effects. Added to this came also business-related tasks where he wrote business plans, managed budgeting, wrote proposals, pitched games to publishers, co-negotiated contracts and created and maintained schedules.
Jason D. Anderson | Troika Games (April 1998 – April 2005)
The head was then replaced with a mechanical snake; as it moved outwards, a crew member pressed a foot pedal to collapse the framework. For the final part of the sequence, a real snake was filmed on a miniature set.
Conan the Barbarian (1982 film) | Mechanical effects
It was shot in Melbourne and at Maldon, a small town outside Bendigo. It was designed by Alan Clarke. Railway carriages were hired from the Society of Railway Enthusiasts. The budget could not cover the hiring of an old locomotive so a modern one was used, but this was obscured by a fog machine.
The Torrents (film) | Production
Firefly Creative Studio of Hyderabad worked primarily on the avalanche and the war sequences, which account for nearly 25 minutes of the film. Firefly Creative was also involved in creating underwater VFX shots and in establishing backstories for Kalakeya characters. Tau Films was responsible for creating the CGI bison, while Prasad EFX from Hyderabad was responsible for some shots in pre and post battle episodes involving digital multiplication. Prasad also created a 3D image of Kattappa and mapped his head onto a duplicate actor in one of the scenes. Srushti VFX from Hyderabad was involved in digitally creating some of the shots in the war sequence along with Firefly Studios.
Baahubali: The Beginning | Visual effects
Daydream elected to use pre-rendered graphics instead of real-time 3D visuals on "Traitors Gate" because the team preferred an "above-standard graphics environment to the advantage of free 3D motion", according to Papworth. The slow pace of the game was a contributing factor to this decision, as Papworth noted that the "loss of a little mobility" did not hinder the design. Animated cutscene transitions between screens were added to increase player immersion, in hopes of making up for the lack of free movement. For the character animation, instead of using motion capture, first-time character animators Fredrik Johnson and Leif Holm worked manually.
Traitors Gate (video game) | Production
At school, Leslie becomes frustrated by Janice's bullying. Jess and Leslie play a prank on Janice, and she becomes the laughing stock of everyone on the bus. Leslie introduces Jess to her parents and they help paint their house. Jess is impressed by her parents' happiness and smiles as he watches them. At school, Leslie discovers from a hurt Janice that her bullying is due to her abusive father, and the two become friends, with Janice later befriending Jess as well. Jess and Leslie take P.T to Terabithia, where they fight off several creatures resembling their bullies, this time with the troll as their ally.
Bridge to Terabithia (2007 film) | Plot
Visual effects on the film were handled by New Zealand visual effects specialists Weta Digital and Weta Workshop who mainly did Crusoe. Most of the roughly 600 effects shots in the film involved Crusoe. And many of those shots involved the creature (Crusoe) interacting with water, which, in terms of the history of computer graphics, has always been a particularly difficult substance to deal with. In terms of the design of the creature, Weta Digital tried to not humanise him but instead based some of his expressions on real animals such as a dog. "We wanted to create something which seemed familiar, but was unique at the same time," said Russell.
The Water Horse: Legend of the Deep | Visual effects
Tsuburaya's Chief Assistant Art Director instead built 12 tanks, which held 4,320 gallons of water. The dam was built at a 1/50th scale and four meters high. The miniature mountains around the dam were built with concrete to withstand the pressure of the water, a decision that upset Tsuburaya due to being unable to move the set in order to set up cameras. The dam was also designed to realistically crumble under the weight of the water but due to this, only a small amount of water came out during the first try. Three attempts were made to force the water out and the dam had to be weakened for the effect to succeed.
Mothra (film) | Special effects
Scott described the Engineers as tall, elegant "dark angels". The snake-like alien dubbed the "Hammerpede" was given life through a mixture of CGI and practical effects, and the wires controlling the practical puppet were digitally removed. For a scene in which the Hammerpede is decapitated, the VFX team digitally animated and inserted the spontaneous growth of a replacement head. During the scene in which the Hammerpede erupts from Spall's character's corpse, Scott controlled the puppet using wires. Scott did not inform Dickie about what was to occur in the scene and her screaming reaction was real. The creature's design was partially inspired by translucent sea creatures with visible arteries, veins, and organs beneath the skin's surface, and cobras.
Prometheus (2012 film) | Creature effects
Production designer Arthur Max led the film's design staff. His art team were tasked with deconstructing the art and visuals of "Alien", and reverse-designing them for the chronologically earlier setting of "Prometheus". Influence was drawn from the work of "Alien" creature designer H. R. Giger, and designers Ron Cobb and Chris Foss, including their designs for that film which Scott had been unable to develop at the time.
Prometheus (2012 film) | Design
The film's visual effects supervisor, Kevin Mack, and the visual effects team at Sony Pictures Imageworks handled the difficult task of creating computer-generated fire on a shot-by-shot basis. Ghost Rider's skull flames were designed to become smaller and blue to display any emotion other than rage. Kevin's Team at Imageworks also created computer-generated motorcycles, chains, water, black goo, dementors and buildings. To pull off such effects as the living morph where the hardtail chopper ("Grace") comes alive to become the "Hell Cycle" Sony enlisted teams of animators, models, effects artists, lighters & "Flame" artists. The department supervisors for these teams at Imageworks included Kevin Hudson, Brian Steiner, JD Cowels, Marco Marenghi, Joe Spadaro, Joanie Karnowski, Vincent Serritella & Patrick Witting.
Ghost Rider (2007 film) | Character portrayal
Part of Huante's early design work included developing precursors to "Alien"s Facehugger, and a primitive "Alien" creature, but these were cut from the final release. When designing the Engineers, Scott and Huante referenced paintings by William Blake and J. M. W. Turner, and classical sculptures. Scott wanted the Engineers to resemble Greco-Roman gods, and instructed designer Neville Page to reference the Statue of Liberty, Michelangelo's "David", and Elvis Presley. The 8-foot tall, humanoid Engineers were created by applying bulky, full-body prosthetics to the actors, whose facial features were diminished by the material, and were later digitally enhanced to preserve the "godlike" physical perfection.
Prometheus (2012 film) | Creature effects
At the same time, the director still went for a strong "wow factor" with the film, where "you have to be able to say 'wow' at least ten times in the first 30 minutes." The two toughest scenes for the cast and crew to film were the maze scene and the concluding battle. The battle is eleven minutes long, required more than 280 shots, and was filmed on a 360-degree panoramic blue screen stage due to it involving more than 150 computer-generated dragons; it was tough for the actors as they had to fight while imagining dragons were around them, and it was tough for the director because the actors could not interact with the dragons that would be imposed in post-production later.
Dungeons &amp; Dragons (film) | Directing
According to Gibbs, the workflow was made even more burdensome by the "communist" nature of the Czech Republic's film industry, especially for a big-scale fantasy film. The country's recently passed importing laws prevented the makeup people from using the glue specifically designed for the elf ears, meaning the elf actors had to wear more incompatible adhesives. There were also scheduling delays due to properties such as weapons and castle walls made by the Czech crew being poorly manufactured and having to be redone. Human-crafted special effects included the steel axes in the maze scene, the Corridor of Eyes made all out of stones, and the poly-glass crystals on the balustrade walls of the Magic school, the most challenging one being to reproduce the crystals into breakaway glass.
Dungeons &amp; Dragons (film) | Practical effects
The game also had planning troubles in post production. Storage and network requirements for the digitized video did not meet the demands. The studio was working with professional actors for the first time. Recording started early when plot lines where not fully developed, but also not subject to change as re-recording would be too expensive and interfere with localisation schedules. The game engine's shift to make it look more 3D and destructible bridges took over ten times longer to program as originally estimated. Adding repairable bridges that can also be passed underneath complicated systems such as path-finding, Z-buffering, rendering, unit behavior, and AI.
Command &amp; Conquer: Tiberian Sun | Development
The visual effects were primarily provided by Weta Digital. Effects supervisor Erik Winquist and a small crew travelled to Chicago to create a model of the Chicago Loop that would be destroyed in the climactic battle, learning the building materials and architecture styles. Up to 15,000 photographs were taken with 3D scanners, while motion cameras covered downtown Chicago. As reference for the building destruction, the artists studied both the World Trade Center collapse from 2001 and implosions of buildings affected by the 2016 Kaikoura earthquake in Weta's hometown of Wellington. One of the more challenging aspects for Weta was figuring out how the weight and mass of the monsters would affect the city environment and destruction.
Rampage (2018 film) | Visual effects
Another unusual element of post-production was that all of the film's visual effects shots were delivered by a single VFX artist. During development, Nooshin and producer Zack Winfield traveled to Wellington to meet with Weta Workshop special effects head Richard Taylor, an avid train fanatic and supporter of the script. But with the film's budget constraints, shooting in New Zealand was deemed unfeasible. Nooshin and his producers ultimately put their faith in Tim Smit, a Dutch VFX artist who had worked on the original £500 trailer, to deliver all the digital effects shots.
Last Passenger | Visual Effects
Scott requested the studio to focus on the destruction occurring within the Engineer. A light color scheme was used for the Engineer's DNA and decayed fish spines were used as an image reference, while the infected DNA had a melted appearance. To find methods of depicting the DNA destruction, the team carved vein-like structures from silicone and pumped black ink and oils into them while filming the changes occurring over an extended period of time. A key scene involving a large 3D hologram star map, dubbed the Orrery, was inspired by the 1766 Joseph Wright painting "A Philosopher Lecturing on the Orrery", in which a scientist displays a mechanical planetarium by candlelight.
Prometheus (2012 film) | Visual effects
To achieve Lucy hugging Aslan, Framestore even replaced Georgie Henley's arm with a digital version. For the gryphons, a motion control rig was created for the actors to ride on. The rig could simulate subtle movements such as wing beats for realism. Adamson cited the river-god as the character he was most proud of. "It was a really masterful effect: to control water like that is incredibly difficult", he said. "The [visual effects company] told us they'd been waiting to do a shot like that for ten years."
The Chronicles of Narnia: Prince Caspian | Effects
The series is the first visual novel series produced by 07th Expansion. The game director and scenario writer for the series are Ryukishi07, who also drew all of the character illustrations. Background images were taken from photographs taken by Ryukishi07, his younger brother Yatazakura, and Kameya Mannendō. Programming was worked on by Yatazakura, who worked on the main structure, 4U who worked on the intermission and Tips, and BT who worked on the mini games. The games were designed using the game engine NScripter. The music of "Higurashi" was provided by various music artists including both professionals and "dōjin" artists, including Dai, the composer of most of the music found in the answer arcs.
Higurashi When They Cry | Development
Shabina Khan designed the costumes for Suriya and Shruti, staying with the team throughout the filming process in Bangkok and Hong Kong. The song "Mun Andhi" was shot in Thailand. Though initial reports stated that the film would feature a time machine, they were later dismissed. The visual effects of the film were done by Legacy Effects at an approximate cost of 100 million, who had made an impact in Hollywood for their work in the "Terminator" series, the "Jurassic Park" series, "Aliens", the "Predator" series, "Iron Man", "Edward Scissorhands", and "Avatar".
7aum Arivu | Filming
Aristomenis Tsirbas is a Greek-Canadian film director, producer, writer, animator and visual effects animator. He directed the award-winning short films "The Freak" and "Terra" which was adapted into the 2007 feature film of the same name produced by MeniThings Productions and Snoot Entertainment. He is currently in development on his second feature film. Aristomenis (Meni) Tsirbas has been directing film and TV for over 15 years and works in both live action and animation. He also has 20 years experience as a visual effects supervisor and digital artist.
Aristomenis Tsirbas | Introduction
For "Phantasmagoria"'s special effects, Sierra sought the professional effects house The Character Shop, headed by senior creature maker Rick Lazzarini. The core special effects team for the game consisted of Lazzarini, Michael Esbin and Bill Zahn. Lazzarini said making "Phantasmagoria" was a much faster and more cooperative process than in the film industry. Due to the tight filming schedule, most effects had to be done in one shot with no cuts, so there was less margin for error. They created the effects for all the death scenes in the game, which included creating assorted body prostheses, burn makeup and what Lazzarini called "gallons of fake blood", which was made of sugar, water and dye.
Phantasmagoria (video game) | Effects
The filmmakers chose to assemble a team of freelancers rather than hire an effects company. The team completed 805 effects shots on a budget Sony had estimated would only cover six. Four months were spent completing the sound design.
Gabriel (2007 film) | Post-production
According to Sundar C, the film features more than one hour of computer graphics imagery.
Aranmanai | Production
★ "Bridge to Terabithia" – Walden Media
29th Young Artist Awards | Best Family Feature Film (Fantasy or Musical)
Following a job at Rocket Science Games until the company's bankruptcy in 1996, Butler went to Tippett Studio and did effects work in "Starship Troopers" and "My Favorite Martian", rising up to a technical director job, and Cinesite for "Practical Magic". While reluctant at the requirement of moving to New Zealand, Butler was convinced by his writer-actor brother Jared to jump at the opportunity of working for Weta Digital in "The Lord of the Rings". His biggest achievement was working in the creation of Gollum. Butler also worked as a computer graphics supervisor on "I, Robot" before an invitation to work as an effects supervisor for the Moving Picture Company, in London.
Greg Butler (visual effects supervisor) | Introduction
Jesse Oliver Aarons, Jr. is a fictional character in the book "Bridge to Terabithia" by Katherine Paterson. He is based on her son. He is played by Julian Coutts in the 1985 film and by Josh Hutcherson in the 2007 film. Debbie Elliott reports that "Katherine Paterson was inspired to write "Bridge to Terabithia" after her son's childhood best friend was struck and killed by lightning." In the novel and film adaptations, Jesse Aarons represents her son. He is the middle child.
List of Bridge to Terabithia characters | Jesse Oliver Aarons, Jr
The film began its last schedule in August 2009 at the Malshej Ghats in Maharashtra where the climax sequence was shot, the final encounter taking place on a wooden bridge. Production designer Samir Chanda built three identical bridges to facilitate the scene to be captured from different angles. Though initially planned to be built either in Sri Lanka, Australia or South Africa, the bridge was constructed in Mumbai to reduce costs. While bad weather and heavy rains disrupted shoot for a few days, the forest department filed cases against some crew members for trespassing. The film went into post-production by the end of 2009.
Raavanan | Filming
At the conclusion of the story, Jesse accepts Leslie's death and builds the bridge of Terabithia, making his sister May Belle the new princess.
List of Bridge to Terabithia characters | Depiction
In designing the battle scenes, they first discussed the setting and layout, and then went to the staff with their ideas, deciding which were the best and developing them further. The battle between Cloud's group and Bahamut was the most difficult to design due to the size of the area and the number of objects the staff had to add to the scene to keep it realistic. The alternating positions of the characters, including Bahamut itself, took the staff a long time to complete to give the scene a sense of flow. Nomura stated that the team decided not to worry about making the fight sequences realistic, as they felt this would restrict their ability to give the film a "cool look." Therefore, they worked by creating their "own rules." Motion capture was used for many of the film's battle scenes; maneuvers that were not physically possible for live actors to perform were constructed digitally.
Final Fantasy VII: Advent Children | Production
The director gave the New York recordings to Crise early on to help with pacing, asking him to cut the music to the film. Still, in terms of the editing workflow, Crise described it as "pretty traditional". The editors cut the film together back in Los Angeles. A few weeks after shooting, they were quite far along the cut itself, and transitioned into visual-effects mode, where they fine-tuned the shots. The visual effects for the film were created by Montreal studio Rodeo FX. They spent four months working on the film, and according to visual effects supervisor Ara Khanikian "visual effects touched 90% of the frames in the movie".
Birdman (film) | Post-production and visual effects
Aronofsky excluded butterflies from the death scene to minimize the film's computer-generated imagery but kept the effect of flowers bursting from the body. Jeremy Dawson and Dan Schrecker, who had provided visual effects for Darren Aronofsky's "π" and "Requiem for a Dream", returned to "The Fountain" to help the director with the film's effects. The pair was assigned the task of creating as little computer-generated imagery as possible, a difficult task with a third of the film taking place in deep space. Aronofsky chose to avoid effects that would make the film look dated in several decades but instead hold up as well as a film like "".
The Fountain | Visual effects