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FIL extra credit Flashcards | Quizlet

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‘Hugo’ revives interest in Georges Melies – Los Angeles Times

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  • Summary: Articles about ‘Hugo’ revives interest in Georges Melies – Los Angeles Times The clips of Méliès’ films and Scorsese’s re-creations of the production of his flights of fancy hopefully will whet appetites of families …

  • Match the search results: Méliès built the first movie studio in Europe and was the first filmmaker to use production sketches and storyboards. Film historians consider him the “father of special effects” — he created the first double exposure on screen, the split screen and the dissolve. Not to mention that he was one of t…

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Hugo (film) – Wikipedia

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  • Summary: Articles about Hugo (film) – Wikipedia Hugo is a 2011 American adventure drama film directed and produced by Martin Scorsese, and adapted for the screen by John Logan. Based on Brian Selznick’s …

  • Match the search results: At Georges’ home, his wife Jeanne allows them in after René recognises her as Jeanne d’Alcy, an actress in many of Méliès’ films. They play the film, waking Georges, who is finally convinced to cherish his accomplishments rather than regret his lost dreams. Georges recounts that, as a stage magician…

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Hugo: a study of modern inventive visual effects – FXGuide

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  • Summary: Articles about Hugo: a study of modern inventive visual effects – FXGuide But it is also a story of the birth of cinema and the film itself used a wide range of inventive solutions to both tell its tale and pay …

  • Match the search results: Lola developed a new workflow to help with the process and discovered a few new tricks along the way. One thing that really helped was rotoscoping in 3D. “We created a 3D model of Ben Kingsley, and stuck the rotoshapes onto the 3D tracked model,” says Williams. “We then created a s…

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Hugo and the magic of film trickery – The Guardian

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  • Summary: Articles about Hugo and the magic of film trickery – The Guardian With Georges Méliès as its subject, Martin Scorsese’s Hugo – up for 11 Oscars – is a film that gives meaning to the cliché ‘the magic of the …

  • Match the search results: Taking this movie as its subject, Paper Conspiracies reminds us, in a way that Hugo does not, that we actually do live in the world that Méliès created. Movies don’t necessarily record reality but they always construct it. That’s what makes them magical.

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The Death of Cinema Redux: Martin Scorsese’s Hugo

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    But that the film is magical to watch is the whole point. You must enjoy yourself. As I’ve had occasion to argue, this is close to a universal moral imperative these days, as well as being regarded as a form of labour.It sure can feel like labour in some films. But then the question gets aske…

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Flights of Fancy (Part 7): The Calm Before the Storm |

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  • Summary: Articles about Flights of Fancy (Part 7): The Calm Before the Storm | Despite Hugh Harman’s dramatic call for peace discussed last week, … the craft can handle, as its wing takes off without the plane itself.

  • Match the search results: He spots the record on the turntable, and curiously places the phonograph’s tone-arm upon it. “Ah, I see you are interested”, says an all-knowing voice from the disc, startling the farmer. “Don’t be nervous. Isn’t it a beauty?”, says the recording. The farmer nods in secret confudence to the rec…

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science fiction | Definition, Characteristics, Books, Movies …

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  • Match the search results: The term science fiction was popularized, if not invented, in the 1920s by one of the genre’s principal advocates, the American publisher Hugo Gernsback, for whom the Hugo Award for science fiction novels is named. Gernsback published Amazing Stories, the first in a series of magazines devoted solel…

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Flights of Fancy: The Great Fantasy Films: Von Gunden, Kenneth

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Hugo movie review & film summary (2011) | Roger Ebert

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  • Summary: Articles about Hugo movie review & film summary (2011) | Roger Ebert “Hugo” is unlike any other film Martin Scorsese has ever made, … but the film’s first half is devoted to the escapades of its young hero.

  • Match the search results: The way “Hugo” deals with Melies is enchanting in itself, but the film’s first half is devoted to the escapades of its young hero. In the way the film uses CGI and other techniques to create the train station and the city, the movie is breathtaking. The opening shot swoops above the vast cityscape o…

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Visual effects supervisor Rob Legato.

by Martin ScorseseHugoIt tells the story of an orphan living in a train station in Paris in the 1930s, but it is also the story of the birth of cinema, and the film itself uses many creative solutions to tell its story while paying homage to the early masters of cinema. . to help bringHugoScorsese invited longtime collaborator Rob Legato to serve as the film’s visual effects supervisor. “The whole movie truly celebrates the determination of the vision and what it means to early filmmakers, and the movie is rich in respect and appreciation,” Legato says.

Visit our fxpodcast pageTo listen to Mike Seymour’s in-depth fxpodcast with Oscar winner Rob Legato.

OursHugoIt is divided into the following coverage:

– Decode a featured Steadicam image
– Movie homage – how many did you discover?
– Stereo workflow – including aging, graining and downscaling in stereo
– 24-hour effects cycle

1203 frames: decoding a signed photo

One of the most famous Scorsese scenes in movie historygood friends; He follows Ray Liotta’s arrival and as they enter the nightclub through the back entrance, they follow the hallway, the kitchen, and eventually the crowd to a seat at the front of the stage. . The ‘night at the club’ scene, as it’s known, was originally shot by Larry McConkey and is one of the most famous Steadicam one-shots in movie history. McConkey, who won the SOC’s Lifetime Achievement Award, returns to help Scorsese and Legato create a series of similar series.Hugo. but don’t lovegood friends, these cannot be shot at once with the stereo camera on set.

Instead, visual effects supervisor Ben Grossmann, who oversaw more than 800 effects shots for Rob Legato and Pixomondo, designed a series of transitions and tricks that let viewers see Hugo master the environment, and deftly weaves the secret world of the train station as if it were filmed. as a single shot, it was actually shot on multiple sets over several days. “The shoot isn’t just a fun shoot,” Legato explains, “it tells a story about this kid – where you live, you have total control over it, you can go places and do things you don’t know. There’s no job no one else You can know secret hiding places, passages and shortcuts, else nobody can do. “

While Larry McConkey has built a Segway Steadicam rig, the key take in the middle of the movie requires the camera to go up and down the level, down a coal chute, and through stairs and impossible gaps. Even if the camera rig doesn’t have a stereo or lighter device, security requirements and scene limitations will likely make shooting impossible, but with dual ARRI Alexa camera rigs, that’s not entirely possible.

The photo should work as a flawless photo, but it should also work in stereo, with consistent and commendable convergence and divergence between the axes. Stereo not only adds a layer of complexity and creative opportunity to shooting, it also eliminates some of the 2D tricks that any other company could reasonably implement. Pixomondo captured the scene brilliantly with the visual effects and direction of Legato’s second unit in live-action (the first unit was actually the first).

1. Beginning of the scene

(Click for larger version)

“There are five separate sets that were built at five different times and built in five distinct phases, so you have to have a pretty solid idea of ​​how to put them all together,” Legato explains. ‘Goodfellas-esque’ shooting set that tells the story. “

The scene that begins with Hugo kneeling and surrounded by gears looking through a clock in the station was filmed in a separate section. Steam was used to help fill the stereo volume with careful stage and slideshow design. Hugo stood up and left the room, running towards the rear camera and into the green screen. “The easiest way to film for me was to use Louma Cranes,” Legato says, “so everything can be mapped in X, Y, and Z space, so when we’re done with this setup, we need to find transitions to the next section.”

2. Ladder

Hugo runs up a ladder, the camera flips up and looks down on Hugo’s head. As Hugo passes through a pipe, the shot easily transitions to an almost entirely green screen scene; another scene is used here with another ‘Hugo’ standing against a flat raised green screen background. For the spectator, the real Hugo glides down the vertical ladder, keeping his foot down from the outside of the ladder while allowing his hand to point downward. “It slid down because if I was a kid I wouldn’t want to go down,” Legato said. Also, it would take a long time to show his genius and master his surroundings, but much more. You’ll slide it down like a fire pole. “

In reality, the person standing in ‘Hugo’ steps onto a platform and Legato asks the player to place their heel on it to support their weight safely. The descending platform was controlled by the physicist and ‘Hugo’ seemed to be descending. But the player always stands on a falling platform – bracing himself on the only other real support on either side of the ladder (even the steps have been removed for safety). When she got to the “bottom” of the ladder, the creative actress spread her legs wide and turned to run. The rest of the staircase, floor, walls and elements were added later.

next corridor

Another Hugo runs down the hall and we move on to the next scene as he jumps through a small opening that is unthinkable for the camera. Of course, its wall and door were added and removed in post-production.

3. Coal chute spiral line

The visual effects team really got the job done, as the camera followed Hugo down a spiral slide in the next shot, as Hugo and the camera walked through the wicket. Legato points out that “there is no physical way to lower the camera (stereo) into the coal chute.” So a very clever solution had to be found. Apparently, Legato and Grossmann were trying to figure out how to shoot this shot at a restaurant before the main shoot, so much so that the two friends were asked by the owner to keep quiet or go. The solution they offer is incrementally both effective and complex. The stereo camera rig sits atop Louma Crane and never rotates as it moves up and down the way Hugo does when sliding down the channel.

Instead, Legato built an entire room with a rotatable green curtain and a spiral channel with it. Hugo is actually sliding around a real spiral, but for every inch he moves, the set moves in the opposite direction. The device effectively maintains a constant distance in front of the lens as it moves to respond with an equal and opposite motion to its perfect circular forward motion. But when Hugo really goes down a real spiral, although it moves clockwise and counterclockwise, the effect is really Hugo and the camera only moves vertically, lower but always in the same position effective.

Needless to say, spinning the entire green screen set at full speed with a child sliding down a slippery slide is a very complex exercise. Shoot very fast and the camera will catch the actors and crash into them. If you move the scene too slowly, Hugo will slide off the camera. Legato instinctively knew that the scene had to be controlled manually so that both the safety and the operator could react to the actual speed the actor was reaching during each shot. “I knew it would work,” he said. “It’s hard to work with – so it doesn’t really work, at one point it’s just physics. may not workvery good!”

Pixomondo VFX Super Ben Grossmann

At the time of submission, Grossmann’s team at Pixomondo will take the actual rotation data originally captured with the encoder and create a set. But the problem is not that simple. If the room wasn’t used for shooting, only the camera, then Hugo and all the light in the coal spiral would have to move through the rotating room. If the light seemed to fly around, Pixomondo wouldn’t be able to sell the compound. But setting all studio lights to spin is also a big problem. Here, Legato thought that if the lights could be turned on and off and 20K main lights arranged from above, the photo would look realistic when combined with the stereo blue screen. He has been proven right.

The room Hugo had to shoot in when the movie landed in the green screen room and the charcoal room was completely added as part of the same shot. The slide drop shot alone took two days.

4. Pipeline

Hugo then runs to the right of the screen, paralleling a motion camera running next to it but separated by a series of vertical pipes. Both of these pipes play well in stereo, but they also allow Legato to pass through in some scenes where the player jumps over the large rotating gear element before exiting through the steam pipe and pipe. to jump over. Here, Legato decided to let the art department completely build the giant wheel, and he just needed the timing of the camera movement and Hugo’s trail to match perfectly.

spiral staircase

Hugo then rushes up a spiral staircase, which of course requires the camera to lift it up to match. Hugo passes through another door, allowing another carefully arranged passage.

5. Hall finally clocks in

The camera then has to take the Steadicam down the aisle to the final set of new clock interiors, where Hugo looks through the gaps of the numbers to see a train station below – actually a curtain scene -. The green image has been replaced by Pixomondo. . The final sequence is about 1203 frames, or 50 seconds of screen time.

The scene was actually longer, but Scorsese decided he didn’t want to spend too much time on the structure of the film with this take. The carefully structured layout and post-production not only allows the child’s control over the environment to emerge commandingly, but also provides a plan with a wonderful stereoscopic effect that Legato specifically uses as an homage to Scorsese’s previous cinematic masterpieces.

tribute to the movie

AlongHugo, the producers used effects and footage as a tribute to the films discussed and screened. These are just a few of the complex visual references and deliberate style choices. Some are visual, some are entertaining, some use original techniques discovered only by the pioneers of cinema. “There were a lot of one-shots, and I guess I didn’t realize it until after the movie was over, but we actually checked the list of all the classic cinematic tricks,” Ben Grossmann saved.

In no particular order, here are just a few. How many have you discovered?

The mouse is wrapped after being repaired

Mouse:A mechanical mouse redesigned by Hugo in the Montparnasse station shop. When it comes to the life of a manual mechanical mouse, stop frame animation in stereo. (Note: even the quality control process at Pixomondo marks images as devoid of motion blur – Grossmann replied – no motion blur because there is no motion blur). “It was hand-animated for hours,” Grossmann says, “so we could make a purely CG mouse, it would be a breeze, it’s what everyone expected, but we decided to make it an homage to classic engineering instead.”

Paris landscape:The realistic silhouette of Paris fits perfectly with that of the famous films of that period, especially Rene Clare.under the roofs of Paris(1938).

Hit the hero clock: ‘Poster Snapshot’ is a tribute to Harold Lloyd, who hangs on the hands of a clock above the street.Finally Safety!(in 1923).

original plate.

Pixomondo’s last photo.

Train: The train in the movie shown by the Lumière Brothers is a scene.Arrival at La Ciotat Train – L’Arrivée d’un la Ciota.t (1895). Not only was it a scene in which Georges Méliès saw a performance for the first time at the circus, Grossmann pointed out that they went much further. “There were two other scenes in the movie where we matched that scene exactly,” he said. The same lens and camera angle were used for two completely different scenes at the actual station shown in the movie. In any case, the separate and seemingly unrelated shots had all the extras, sightlines, and train locations by the effects team that fit perfectly into the original 1895 film.

train wreck dream series: This is a famous interpretation of the Granville-Paris express train derailment at Gare Montparnasse station in 1895. (See below)

Moonshot:The visual effects team also helped recreate some of the most popular movies of the era.Le voyage à travers l’impossible,1903kingdom of fairiesand in 1902Le Voyage dans la luneis the basis for the VES logo/award and others to date.

Train drivers and engineers:Train scenes in the engine between the train engineer and his assistant, referring to train scenes from Jean Renoir’s 1938 movieLa Bete Humaine.

Star Studios:Georges Méliès’ glass studio was originally built and whenever possible, cinematographer Robert Richardson shot there with only the natural light provided by the building. When it was time for the studio to fall into ruin, Grossmann led a team to shoot a time-lapse sequence simulating the collapse of the entire building. Ironically, as the team carefully filmed the stop frames of the building’s aging art department on a pair of stereo aligned Canon DSLRs, the results were deemed too distracting. , but one less flicker.

folding:In the scene where the paper falls and flutters in Méliès’ bedroom, the pages form a traditional animated sequence in the air.

The base station is pulled along the station:The idea for this hilarious joke in the movie was Sacha Baron Cohen himself. To solve this, Legato did not have a moving train that pulled the actor down from a platform. It has a stationary train and it slides down the floor – to give the illusion that the train is in motion. The train does not leave the station, the station leaves the station. “We asked the art department to build a track and put the station on it,” Legato says. “It’s an old idea – the guy who first came up with it was a genius, and we wanted to do that to go back to the old-fashioned effects.” Legato’s solution is faster, more cost-effective, but also safer than moving a real train. “InTitanic, Jim (James Cameron) did the same thing, “pointed”, butTitanic,you don’t see the real ground moving by itself. Images were taken from the ground. ” InHugoThey have 40 foot moving decks. “We worked very quickly and in a very short time, and we loved using an old illusion,” Legato says. When the station (excluding trains) was added as a permanent green screen item, it helped drive more than triple sales. “

Motion control magnets in the drawing console

Automatic:Robots or automatons are not CG, although there is some double CG for some complex shots like a train wreck. Project creator Dick George has created 15 versions of the automaton, and some of them can actually be drawn on paper. The visual effects and special effects team tackled the complex task using magnets. Underneath the paper is a motion-controlled magnetic system that tracks the hand-coded drawing. Then the arms move to fit the magnets and paint the famous painting. In a few photos, if you stop and really examine the frame, you can see that the nib is “a ballpoint pen, not a ballpoint pen” at these points, Legato admits.

Buildings:Many of the buildings shown in the film in Paris are real buildings that Méliès shot when he discovered the jumping technique. Grossmann’s team faithfully recreated these buildings to become digital buildings around the train station. “We found the place where [Méliès] was filming in Paris when he noticed the cut,” Grossmann said. “The movie crashed and reloaded when reloaded. And then, when he cut back later, he discovered that he had cut the jump – ‘Oh, I could see the buildings hadn’t changed but people were suddenly jumping’ – and this is the basis of many of his spells. influences the movies. ”

Manual coloring by Melies.

Hand painting:In flashbacks to the death of Hugo’s father, Scorsese was keen to explore how hand-drawn in film, much as Méliès did to add color to his films. Grossmann’s team agreed, but instead of hand-drawing the actual 35mm film frames, the team painted the flames by hand on the computer. They scaled the 1920×1080 Alexa frames to 35mm on the screen – without reducing the actual file resolution – then manually colored the frames in stereo. Practically this means manually matching the left and right eyes at minus 35mm on the artist’s screen. Legato was so expressive that it boosted the stereo effect of the string for added impact.


shooting match: “It’s a bit different, a bit different with the train driver, if you watch it in the movie,” says Grossmann. Well if you want to seeThe Human Monster / La bete humaine(1938) by Jean Renoir, you’ll find that Hugo’s unusual depth of field compared to the rest of the movie goes well with the images in this movie, as well as the frames, lenses, and even the entire wardrobe. Grossmann adds: “Any point where the frame looks a little odd or unusual can be a nod or homage to a classic film.

And much more than that. For example, there’s a triple cutout that goes all the way to the lens, and that’s Buster Keyton’sGeneral(in 1926). Hugo also includes “metamorphosis, cropping, panning, cross-resolution, split-screen, overlaying two images,” as Grossmann puts it, all of which are meant to pay homage to techniques. and Meliès’ films. . “In some cases,” he said, “we just go into town and have fun with it!”

Stereo engineering

Cubist Demetri Portelli and Scorsese

The stereo sound design of this movie was universally praised. The movie was conceived and designed to be viewed in full stereo. “I can’t imagine how important stereo sound was to Marty,” Grossmann says. “I remember the first few series where Marty took the department heads and him for a walk so they could discuss where to set the story. We would go through the set, it would be very quiet, we would walk around, he looked at everything, it was a very serious moment, very quiet, because that was his first impression of the movie set. I mean, he made his first impression of a scene, went over his notes, and studied the scene, and now a few people on the set and in this room.

“There’ll be 300 people off the set,” Grossmann continued, “but you’ll be there with five of us and Marty and we’ll just go around and then say, ‘Bob, what a cool thing. Looks like we can shoot in stereo here?” and Bob would say. which is, “If we had a train and we moved here and a train would look nice here.” “Well,” Scorsese would say, “I can see that. It’ll look nice here. Okay, okay, what if we have some steam and some fluff here? It might get some fluff here. OK, great, good’ and so it’ll go on.

“Her favorite thing to scream post-shoot is ‘Demetri, don’t miss Pâté! ” (according to stereoscopic photographer Demetri Portelli), was his code, “you perceive so flat and I want everything! “” said Grossmann. . This would have resulted in Portelli forcing the stereo to make the 3D effect bigger and stronger in stereo, almost to the point that Portelli was worried whether it would vibrate or not, but in reality, the movie’s stereo system works perfectly – a point director James Cameron said in the movie’s stereo. shortly after the film’s New York premiere.

Legend3D is the primary stereo modifier in the movie.

Stereo: anti-aging

Proving once again that they are the most suitable company for this kind of work, Lola not only delays aging, but also incorporates it into the stereo system. The scenes starring actor Ben Kingsley were shot in stereo and the effects work was done in stereo. Lola fired 51 shotsHugo.

“All the anti-aging work we doHugostereo, and that’s a lot harder than doing post-conversion,” explains Edison Williams, Lola’s visual effects supervisor. “HugoThere are so many dimensions in primary photography that we cannot take shortcuts by working with just one eye. We have digitally effected many 3D post-conversion movies and worked on them with one eye and produced the relevant boards. ”

Lola developed a new workflow to aid this process and discovered some new tricks in the process. One thing that really helps is rotoscoping in 3D. “We created a 3D model of Ben Kingsley and pasted the circles onto the 3D traced model,” Williams says. “We then created a second camera (using the corresponding correct distance) in Flame and roto form, and then aligned to both eyes. A few rotor shapes need to be adjusted, but most of the shapes are delivered without errors, saving even more time allowing us to finish on time. The work was synthesized in Flame and viewed in 3D in PFTrack. The latest version of Flame has integrated some great 3D tools and this allows Lola to embrace stereoscopic digital cosmetics without having to use Nuke.

“If there were slight differences between the eyes in our study, we would glow almost like an illusion in the affected areas,” Williams notes. “It was a big surprise when we first saw it, and we almost always saw a difference in brightness when we flipped it back and forth between our eyes. The amount of intensity change that causes the mirage effect can be very small and is completely undetectable unless you’re viewing it on a large 3D screen.”

Williams really respects the work he sees on set from the first unit and the effects team. “Hugo”It has the best 3D space cinematography I’ve ever seen.” “Before making this movie, I spent a lot of time researching and experimenting with the rules of 3D movie making. A fairly simple rule to follow is that if a player or object passes over the edge of the frame, it should be behind the plane of the screen, like looking out a window at a house. I discovered that Martin Scorsese and Rob Lagoto created a masterpiece by ignoring the old rules and creating their own. ”

Stereo: grain readjustment

For legacy Hugo sequences, some images need to be viewed as ‘grain old’ but in stereo.

If you add film grain in stereo, you usually have two options:

1. Add different particles to each eye, this creates a disturbing stereo effect.

2. Add the right vein, but this will make the vein look like it is resting on a flat surface in a movie theater—like a shower curtain or a flat, dirty glass plane between you and the movie.

So production came up with a third solution – particles applied in three dimensions. The particle matches on the left and right eyes but wraps around objects in 3 spaces. The particle is located at depth z at the level of the object it is on. “Just that cost us weeks and weeks for CHEAP.

Stereo: zoom out

The derailment of the Granville-Paris Express in 1895 was accurately recreated for a dream scene from the film by New Deal Studios and Pixomondo. In reality, the main engine was taken care of about 30 meters (100 ft) above the Gare Montparnasse passenger road, crashed through a 60 cm (2 ft) thick wall, fired from a terrace and was thrown out of the station, crashing to the ground. 10 meters (33 ft) below is Place de Rennes, on which the promontory stands. The real image of the falling train and Scorsese asked the VFX team to match it exactly. Legato is certainly no stranger to miniature photography, shooting scenes from the wreckage of the Titanic to the test plane wreck in Scorsese’s own movie.Pilot. While it was the right decision for the film, the VFX supervisor was also keen to include some miniature work in the film to add more of the techniques used by the film. And of course, another new element is shooting miniatures in stereo.

Comparison of actual accident and Hugo set photos. (Image above: Matthew Gratzner, co-founder of New Deal Studios, reviewing results after review)

Interestingly, only two of the original 131 passengers were injured when the collision occurred. The only death was a woman who died from a falling wall in the street below. Wikipedia reports that the accident was actually caused by a faulty Westinghouse brake, with motor drivers trying to make up for lost time. The conductor was fined 25 francs and the motor operator was fined 50 francs. As for the movie version, the train wreck was staged by New Deal Studios using a detailed quarter-scale model (and no one was injured during filming). New Deal visual effects supervisor Matthew Gratzner oversaw the making and filming of miniature train and station balconies. The process starts with digital builds right in CAD in Rhino and used to create scale models shared directly with Pixomondo along with photos of finished parts. Promote their digital work on-chain.

A miniature train runs through the window.

Miniature Train and Station Section of the New Deal.

The train station section includes real glass for the windows, individual window panes, and manual soldering with lead with plaster to create the look of stone. Locomotives and wagons are made from a variety of materials, including CNC billet aluminum for the wheels. New Deal even created a ‘fume hood’ system connected to the cam drive to produce the right kind of steam in the chimney. The event sequence was shot twice in the New Deal scenes at 52fps on ARRI Alexa with a Cameron-Pace stereo over three days to allow for pre-lighting, prep and shirting. New Deal designed a track, the train still runs on the track with the luggage car attached to the physical skates. All of this is connected to a large pneumatic piston called a cable cylinder with a 3:1 pull ratio, something commonly used for large cars, to allow the train to slow down a bit before diving in.

The New Deal also shot various footage of the train crash as it sped past newsstands and other objects, and the studio was responsible for another key scene – the fiery death of Hugo’s father (Jude Law) seen in flashbacks. In this scene, a giant fireball passes through the hallway door, which is actually a miniature set built at one-third scale and built to pass many tests (for example, mural on the roof, printed with fireproof material and glazed ventilation). The New Deal produced fireballs using an off-camera butane mortar set to be fired with a wire bait and an air mortar to blow up the windows.

Of course, New Deal is proud to be a part of Hugo, their fifth collaboration with Martin Scorsese and Rob Legato. Matthew Gratzner says, “With miniatures, there is still a certain amount of randomness and imperfection – that’s what makes photos so much more real. And although I always say miniature effects, it’s a big gimmick, because we get free light, free inertia, free gravity, and what We don’t have to find out that it’s doing the testing.”

Click here to watch our fxguidetv episode on New Deal Studios’ miniature effects for Hugo.

Pixomondo workflow and 24-hour effects loop

The effects team was in England from the start. Specifically, Pixomondo had a team of seven on set and created a digital or reference copy of everything. 150 feet long, 120 feet wide and 41 feet high, the train station complex fills the entire sound field but is still greatly expanded with a green screen. This means that it is important that all equipment and sets are accurately recorded and recorded, as well as on-site calibration and monitoring data.

original plate.

Last shot, Hugo was given mechanical automatic tripods by Pixomondo.

“We brought the Pixomondo team to Shepperton and set up an office there so all the plans the construction department makes go to the visual effects department and to us,” Grossmann says. will create a digital model for them. Then LIDAR would scan every set, take a picture of every props, every poster on the wall, every menu, every wardrobe photographed and cataloged for the digital crowd, and then we would ensure that what we created had realistic wardrobes and realistic accessories, including every umbrella. paper, every car. We had digital copies of everything in the visual effects department. ”

“We had one of the most amazing data wrappers I’ve ever worked with,” Grossmann adds, “and thanks to our real-time coding system, as well as capturing every movement of the camera, at the beginning and end of each camera shot, our data processor will set up Total Leica Stations and each It will analyze and record the start and end points of the location.The scene we just shot is a laser survey with all the positions of all the probes and they will have geolocation values ​​named by Maya by the rotation and capture number.

“So if they make adjustments during the shoot, I’ll know where they’re moving the camera. So I’m going to make this Maya file so we can see what image was captured when we review it in the post, open the Maya file, see the exact location of the camera and upload the metadata saved in Motion. I would load the Builder and then the Cameron-Pace rig stereo metadata, and then I could set the stereo Maya rig to all the data was saved to match. ”

The movie had to be made faster than the other Scorsese did – usually they only had 58 weeks to edit a movie, but in this case the crew only had 38 weeks to complete the movie. Thus, the global presence of Pixomondo offices came into play.

The large global Pixomondo team worked in one of two ways:

1. Sometimes a series of shots will be allocated to different Pixomondo offices and will be relatively isolated, based on each office having an area of ​​expertise.

2. On faster turns or in larger stores, all offices will work together around the clock – each contributing its own area of ​​expertise.

Example (approximately):


Imagine a scene turned upside downnew Yorkat 5 pm.

(TIMEZONE LA (~2pm – 16pm) is 3 hours behind NY)

An EDL was sent to Ben Grossmann.Los Angeles, where the material will be dragged. The document will then be uploaded to the Pixomondo server, which is available to all offices worldwide. Preparing for the shoot takes time, as LA is a few hours behind NY.

(TIMEZONE China (~6am – 8am) before 13:00 NY)

This BeijingThe office will then start doing matchmaking the morning they arrive because it’s almost exactly the day LA is night and vice versa.

officeShanghaiwill make any necessary model adjustments based on the data model set library.

(TIMEZONE Europe (~06:00 – 15:00) before 18:00 in NY)

Once completed, European offices will be operational online. This Berlinprivate office in animation effects – steam, snow destruction – whileFrankfurtespecially in character animation andStuttgartvery good at synthesizing

(5 hours before TIMEZONE London (~2pm) NY)

This Londonthe office is the main center of Europe and has gathered all these works and brought them together in one go. Because London is one hour behind Germany, the London office is one hour up. Or London could turn everything over to Toronto.

(TIMEZONE Canada (~7am), 0 hours before NY)

Torontocan start or end merging photos.

(TIMEZONE NY, return to NY before lunch)

So once a shot is fired, it’s ready to be sent YorkIt worked 24 hours and it wasn’t even lunch in New York!

This happened while each facility was also doing an entire series on their own. In chase sequences, for example, the limitations of the camera combined with the set boundaries meant that some shots were purely CG. Some chase scenes feature full body and motion capture of the main cast, such as the station owner and his dog, and these scenes are compiled into the complete digital set. In this case, Beijing completely handles this series from start to finish.


The original plate of the train station.

Last shot.

Obviously, the loyal team members Scorsese works with and the companies with which he builds relationships with those who stay with him on the project serve both the director and the director very well. This level of trust is so successful that visual effects shots, while precise and complex, rarely require much change because people not only trust each other but can anticipate the work so shots can be shot and broadcast very efficiently. Still, even on a well-oiled machine, shots taken long after the deadline seem typical Scorsese fashion. The film is a great source of inspiration for creative filmmaking, both in terms of the story it tells and the way it is told.

We spoke with Rob Legato, Pixomondo, Lola VFX, and New Deal Studios for this post. The film also includes visual effects from Uncharted Territory, ILM, Matte World Digital, With A Twist Studio and Big Film Design.

All images and clips are copyright © 2011 Paramount Pictures.

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Morricone – Gabriel’s Oboe 00:00

Mikael Samsonov (cello), Metamorphose String Orchestra, Pavel Lyubomudrov

From: “Mission”

Saint-Saens – The Carnival of the Animals: The Swan 02:31

Sarah Joy (cello), Kathy Hohstadt (piano)

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Otri Trio

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Morricone – Playing Love 12:50

Orchestra da Camera Fiorentina, Giuseppe Lanzetta

From “The Legend of 1900”

Debussy – Clair de Lune 16:24

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Chopin – Raindrop Prelude, Op. 28 No. 15 21:08

Heard In: “Shine”

Chopin – Nocturne in C-sharp minor 26:27

Heard In: “The Pianist”

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Nino Rota – My Way (orchestral arr.) (live recording) 30:16

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Piovani – Suite from “La vita è bella” (Life is beautiful) 34:14

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Mozart – Eine Kleine Nachtmusik in G Major, K. 525 I. Allegro 39:07

Opole Philharmonic Orchestra, Werner Stiefel

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Vivaldi – The Four Seasons, “Spring”: I. Allegro 45:07

Yuliya Lebedenko (violin), Metamorphose String Orchestra, Pavel Lyubomudrov

Heard In: “The Hangover”

Bach – Brandenburg Concerto No. 3: I. Allegro 48:25

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Heard In: “Die Hard”, “Hannibal” and more

Mozart – Le Nozze di Figaro: Non Più Andrai, Farfallone Amoroso 54:15

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Mozart – Piano Sonata No. 11: III. Alla Turca 57:34

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Rimsky-Korsakov – Flight of the Bumblebee (for violin, viola and flute) 1:01:14

Otri Trio

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Rossini – The Barber of Seville 1:02:38

Orchestra da Camera Fiorentina, Giuseppe Lanzetta

Heard In: “The Rabbit of Seville”

Beethoven – Symphony No. 7: II. Allegretto 1:09:33

Orchestra da Camera Fiorentina, Giuseppe Lanzetta

Heard In: “The King’s Speech”

Tchaikovsky – Symphony No. 6, “Pathétique”: IV. Adagio lamentoso 1:18:34

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Morricone – The Falls 1:42:22

Mikael Samsonov (cello), Metamorphose String Orchestra, Pavel Lyubomudrov

From “The Mission”

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