The Third Floor constructed previs for the Fog Battle, taking note of the choreography the audience would need to understand. What Bryan added since then was a nice atmospheric fog/haze to all the shots complete with god rays in the live-action shots which I think really added to the stillness and shrouded mystery of the environment.” Previs created by The Third Floor. “That look was already established when I came on to the show. The water direction here was to get a very stormy sea look, lots of high water on the ships.įog Battle: “The Fog Battle took place on completely calm water, a mirror finish to the sea,” says Desjardin. Bryan Hirota and I did work together to fine tune that sequence, designing more ship ramming other ship shots to tell the story of how Themistocles exploited the otherwise-superior Persian ships’ weakness (in the middle of their hulls). We also built a couple of other greenscreen platforms that were much smaller than the boat ones, that we could push or pull with forklifts and we used those where we wanted to stage action that actually had Greeks or Persians approaching each other.” On board the ships.Ĭircle Battle: “The first battle – or Circle Battle – was stormy and featured a cliff-like standing ocean wave from which the Persian ships could look over the Greek ships waiting down below,” explains John ‘DJ’ Desjardin. “Knowing the kinds of oceans that we thought we were going to have,” says Hirota, “we worked with the special effects guys and gave them some simulations on a boat on that kind of ocean size, so that they could run their gimbals to get the physical sets moving in a roughly similar fashion. The ship sets were rigged to gimbals that could rock and roll. But then previs was also a perfect way to design the shots and shoot them.” We had to write it on the screens just so people know.
“The actors were on platforms,” adds Hollander, “and we were even writing on the greenscreen ‘Greeks here’ and at the end we said where the Persian or Spartan fleet was coming from and where everyone was. wp-content/uploads/2014/03/ships.mp4The partial ships on set. We had the front and back third and would swap them out and cheat the mid-ship with set extensions.” “The Greek ships could be put on stage in a shooting environment,” says Richard Hollander, “but for the Persian ships, which were huge, only about a third could fit. Shooting: On set at the Nu Boyana Film Studios in Sofia, Bulgaria, live action for the the sea-battles could be filmed only on partial ship sets. So we put together a little speed counter so they never went beyond what they were supposed to be going, so the simulations were still viable.” “One of the typical things you find with previs is that things will typically go the wrong speed,” adds Scanline visual effects supervisor Danielle Plantec (who shared duties with Bryan Hirota), “so when you get into the effects simulations that can be hard to maintain. We also implemented Scanline’s pipeline into our own so we could seamlessly hand off our previs scene files to them to use for final visual effects.” Previs by The Third Floor. “This allowed us to give the director a very realistic idea of what the finished product would be. Previs: “Teaming up with Scanline, we were able to integrate their advanced ocean simulations in our previs,” says The Third Floor’s previsualization supervisor Patrick Smith. To make them possible, the studio undertook a unique collaboration with The Third Floor for previs of the battles, and then embarked on creating different looks for each.
Scanline, with its rich history of water simulation technology in Flowline, handled these battles. Much of Rise of an Empire takes place either on board Greek or Persian ships, and often when the vessels are crashing into each other. Sea battles: each one unique One of the battles created by Scanline.
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Several members of the visual effects, previs and stereo conversion teams including visual effects supervisors Richard Hollander and John ‘DJ’ Desjardin, plus Scanline, MPC, Cinesite, The Third Floor, Halon and Gener8, discuss how these key shots were made possible. In this article, fxguide picks just some of Rise of an Empire’s big moments to explore in detail. Synder returned as a producer for the follow-up directed by Noam Murro: 300: Rise of an Empire, where once again principal photography was captured mostly on greenscreen sound stages with significant visual effects artistry behind the film’s final look. When Zack Snyder’s 300 was released in 2007 it brought with it the director’s trademark aesthetic feel – stylized battles, speed-ramps and high action were key elements.