“Dune” takes on “No Time to Die” and “Spider-Man: No Way Home.” Constantly updated.
Update: February 9th: Denis Villeneuve (Warner Bros.)’s “Dune” takes the lead as the frontrunner in the VFX race. Other nominations include “No Time to Die” (MGM/UA), “Shang-Chi and the Legend of the Ten Rings” (Marvel/Disney), “Spider-Man: No Way Home” (Marvel/Disney). , and the surprising “Freelancer” (Fox/Disney).
DNEG created the imaginative VFX for the otherworldly “Dune” (supervised by Oscar-winning VFX production supervisor Paul Lambert and Oscar-winning SFX supervisor Gerd Nefzer). Shot in Budapest, Jordan, the United Arab Emirates, and Norway, the work is both epic and relatable, from the wind blowing sand, to the raging sandstorms (realistically executed according to director’s request), to the flying insect-like chapters (requires a special in-camera setup and is aided by an optical exterior) to the iconic CG sandworms, making the whole sa vibrations with the help of custom mechanisms. The big innovation, however, is the Sand Screen process instead of the blue or green screen for the background environment in the desert. This precise alignment light takes precedence over ease of matching. In addition, all the actual work on the sand and helicopters demonstrated excellent use of special effects.
“No Time to Die” marks the first time the James Bond series has been nominated for VFX since “Moonraker”. which shows the scope of the CG and the actual work (led by production supervisor Charlie Noble and SFX supervisor Chris Corbould). With director Cary Joji Fukunaga completing Daniel Craig’s arc as Bond by wrapping up all five films, it’s important to emphasize the emotional connection to the action. VFX interactions with stunt work are impressive, especially in the pre-credits trailer with the Aston Martin DB5 returning in full aggressive mode. This involves a high-speed chase and explosive face-to-face in the old town of Matera, Italy. Another highlight from DNEG, the sunken trawler, has been installed to sink with Bond locked inside. Detailed work is essential to create the trawler’s descent and accurately simulate the water and surrounding debris.
Thanks to the latest technological advancements, Green Goblin (Willem Dafoe), Doc Ock (Alfred Molina), Electro (Jamie Foxx), Sandman (Thomas Haden Church) and Lizard (Rhys Ifans) feel at home in “Spider- Man: No Way Home. “Credits to Marvel’s VFX production supervisor, Kelly Port, who oversaw the cutting-edge work of Digital Domain 3.0, Sony Pictures Imageworks and Luma Pictures, which lifted the character heavily. They start from scratch and make improvements while sticking to the basic designs. As for the tentacle Doc Ock, who wreaks havoc on a crowded bridge, DD – who previously worked on the Oscar-winning “Spider-Man 2” alongside Imageworks – did a full CG overhaul with ingenuity and flexibility. As for Electro – get Luma working for his frontend; DD for an escape scene using Tony Stark’s Arc Reactor; and Image for the final battle on the Statue of Liberty – there have been some new wrinkles, including a more accurate comic book image for his power.
“Shang-Chi and the Legend of the Ten Rings,” the MCU’s introduction to the fantasy adventure of Chinese martial arts, offers some unique VFX opportunities: showcasing the power of the peppered rings. representation, creating Marvel’s first dragons – the Great Guardian and the Dark One – and reminiscent of the lovable Morris, the hairless, six-legged, headless friend to court jester Ben Kingsley, Trevor. The look of typical rings associated with the immortal Wenwu / The Mandarin has evolved from a splendid colorful energy display to something more subdued. Weta – best known for Gollum, Kong and the popular “Planet of the Apes” trilogy – has also delved deeper into dragons (“Pete’s Dragon” and “Game of Thrones”), and created two very cool creatures. imaginative for “Shang-Chi”: The Great Protector is a wingless, snake-like water dragon, while the soul-sucking Dweller is a winged, tentacle, and eyeless creature.
The line between real and digital is intentionally blurred in “Free Guy,” with Digital Domain assisting in transitions between live-action and CG based on the POV of Ryan Reynolds and other characters. For inclusion in the digital version of Free City, DD created CG versions of many of the characters, including Guy. To create the gameetting, DD used previs content and built nearly 100 3D environments, created from modular buildings, which were then altered with different textures and materials. The artists then added individual components by hand to recreate and stylize real-world Boston locations, including storefronts, residential areas, and commercial buildings. DD also uses its proprietary face-swapping tool, Charlatan, for the first time in a feature.
Here are the candidates ranked in order of likelihood of winning:
“There is no time to die”
“Spider-Man: There’s No Way Home”
“Shang-Chi and the Legend of the Ten Rings”
https://www.indiewire.com/feature/oscars-2022-visual-effects-predictions-1234673343/ Oscars 2022: Best Visual Effects Prediction