MCU Concept & VFX Artists

Ant-Man, Saby Menyhei. Thor the dark world concept, richard anderson. flaptraps art. Thor - Avenvers Age of ultron , ricardo luiz mariano. Spider-Man: Homecoming, Alexander Mandradjiev. Captain America : Civil War - Nairobi, Marek Okon. Ryan lang. Aleksi Briclot (@aleksibriclot) • Instagram photos and videos. Aleksi Briclot. Concept Art From Every Movie Thus Far (Over 900 Images) : marvelstudios reddit. Io9.gizmodo. Artwork | Adi Granov. Adi Granov (@adigranov) • Instagram photos and videos. Andy Park Art - HOMEPAGE. Andy Park (@andyparkart) • Instagram photos and videos. 'Avengers: Infinity War' Concept Artist Reveals How to Build a Universe.

Charlie Wen - Profile - CTN Expo. Charlie Wen Talks In Detail About Loki's Costume In MARVEL'S THE AVENGERS. Interview with Charlie Wen: Importance of the Visual Storytelling Process. Interview with Charlie Wen: Finding the Core of Iconic Comic Book Characters. Interview with Charlie Wen: Exploring the Depths of Characters through Visual Development. Interview with Charlie Wen: Visual Development of Story and Characters.

Thompsonconceptart. Pete Thompson (@petethompsonart) Storyboards | Ryan Woodward Art and Animation. Ryan Woodward (@ryanwoodwardart) • Instagram photos and videos. Ryan Meinerding. Ryan Meinerding (@ryan_meinerding_art) Showcase | Atomhawk. Thor: The Dark World™ | Atomhawk. Guardians of the Galaxy™ | Atomhawk. Designing Spacecraft for Guardians of the Galaxy | Atomhawk. A core team of four Atomhawk artists spent over a year working with Marvel, designing spacecraft, key locations and key action shots for Guardians of the Galaxy. Here we talk about the inspiration and processes behind the design of some of the movie’s most memorable spacecraft. Where to start Our spacecraft designs for the film included the Milano, Yondu’s fighter, Ronan’s Dark Aster and the fly-like Necrocraft housed within it.

We had already explored reference material from Pulpy science fiction films like Forbidden Planet, Fantastic Voyage and Barbarella in our initial key image work and taken on board Director, James Gunn’s vision of “in-your-face, over-the-top, unrepentant COLOR”. The architecture and spacecraft of the movie needed to draw on a history of architecture from fantastical, galactic cultures; a futuristic technology juxtaposed with the retro design of the 80’s. The set builders needed to use these images to really understand what they should be trying to achieve. The Milano. The inspiration and key art behind Guardians of the Galaxy | Atomhawk. Atomhawk worked on Guardians of the Galaxy for over a year, with a core team of four artists, creating key images, action shots, spacecraft and locations.

Here, we give an insight in to the inspiration behind the movie and how we went about visualising key moments, action shots and locations, helping to set the artistic direction of the film. “Guardians of the what?” When we heard that our next Marvel project, following our work on Thor, was to be Guardians of the Galaxy, the resounding response was “Guardians of the what?” Even the most clued up Marvel fans among us were unfamiliar with the slightly obscure comic that had undergone several rebirths over the years. However, our enthusiasm soon recovered as we came to realise that the history, or lack of, behind this particular gang of superheroes would give us exactly the kind of blank canvas we like to work with. A blank canvas Director, James Gunn, conveyed his vision for the film in this words: Doing things the Marvel Way The Kyln Knowhere.

Avengers: Age of Ultron™ | Atomhawk. Interview with Atomhawk Principal Artist, Stuart Ellis on designing Hawkeye's farmhouse What was the brief for Hawkeye's farmhouse? There wasn't really a brief per se but rather a selection of images that Production Director, Charles Wood, had collected as a point of reference. He explained that what he was trying to achieve was a homely American style farmhouse situated in a hidden valley somewhere in the US. What is the role of the farmhouse in the film? On the surface it was used as a place where the Avengers could hide from Ultron and regroup, but it was also used to humanize Hawkeye and give him a little back story.

With the likes of Captain America and Iron Man having their own origin movie we know them intimately. Where did you take your inspiration from? Atomhawk Showreel 2018. Atomhawk Design. Marvel: The off-screen heroes bringing fantasy worlds to life. Media playback is unsupported on your device With Avengers: Infinity War having taken $2bn (£1.5bn) at the box office, Marvel's superhero films continue to dominate the cinema landscape. But just how do the comic book characters make the transition to the big screen?

It is now 10 years since Iron Man rocketed his way into cinemas, with Robert Downey Jr's quick-witted charm winning over audiences across the globe. And from the afro-futurist Wakanda to the gleaming Asgard and nightmarish Dark Dimension, advances in computer-generated effects and the studio's blockbuster budgets have enabled filmmakers to push the envelope ever more. But while the fantastical deeds of its costumed crusaders continue to thrill, the Marvel Cinematic Universe owes much of its success to the teams of unsung stars who never appear on screen. "It's a huge amount of pressure, but also really rewarding. " Image copyright Atomhawk/Marvel Atomhawk was enlisted by Marvel after impressing with its videogame design work.

CREDIT LIST • Luma Pictures. Raising the VFX Hammer for 'Thor' WikiFX - Visual Effects of Thor. THOR • Luma Pictures. THE AVENGERS • Luma Pictures. THOR: THE DARK WORLD • Luma Pictures. IRON MAN 3 • Luma Pictures. GUARDIANS OF THE GALAXY • Luma Pictures. CAPTAIN AMERICA: THE WINTER SOLDIER • Luma Pictures. AVENGERS: AGE OF ULTRON • Luma Pictures. DOCTOR STRANGE • Luma Pictures. Dark Dimension and Dormammu Luma drew inspiration for the Dark Dimension directly from Steve Ditko’s 1971 “Third Eye” blacklight poster, which meant it had to be heavily art directed.

Luma was tasked with translating the amorphous 2D graphic into a believable three dimensional photorealistic world, with almost every shot in this sequence done entirely in 3D. Luma developed the look with a lot of neon color; as a result, the crew had a limited palette to draw from and had to invent new rules to create the visually stunning and vibrant environment.

The look was highly stylized, so the team had to create elements that would allow for flexibility and a vast array of color and value variation at the shot level. Creating Dormammu provided its own challenge in that the team had to translate his look from the comic book illustrations to a photoreal living and physical being, which required each shot to go through look/dev first. Captain America: Civil War • Luma Pictures. GUARDIANS OF THE GALAXY VOL. 2 • Luma Pictures. SPIDER-MAN: HOMECOMING • Luma Pictures. Crime Fighting A rookie Spider-Man goes out and about in the neighbourhood on his first adventure trying to stop petty crime: he’s clumsy, slightly awkward and flies from location to location leaving situations worse off than he found them. Luma created and animated a full CG Spider-Man, keeping in line with the comedic undertone. The lighting team created eight different light rigs to match all the different environments that Spider-Man swings through: the team utilized on set lidar, location captured HDRIs, plate photography and on set reference photography as the foundation.

Lighters had to refine on a shot-by-shot basis to craft ‘beauty lighting’ to further enhance and integrate the digital elements into the plates. Of course, throughout execution it was absolutely necessary to achieve a photo-real look. Spider-Man suits up and heads into the city looking to fight crime, where he spots four robbers wearing Avengers masks breaking into an ATM using alien technology weapons. THOR: RAGNAROK • Luma Pictures. Miek and Biff Luma also created and animated Korg’s excitable sidekick, Miek, in-house. After receiving Marvel’s brief on the character, we shot high-energy punching, kicking, jumping and flipping in our motion capture studio so that animators had a more specific type of motion to use in their shots. Miek’s movements are essentially driven by joysticks in his tiny hands, which also controls his exoskeleton. Luma built and sculpted Biff from the ground up for his appearance in the Parade of Victor’s sequence.

The team began with detailed concept art, which was then handed over to Character Supervisor, Matheiu Aerni, to run with the designs. Ian Joyner. Phil Saunders. The Avengers Concept Art by Phil Saunders. Concept artist Phil Saunders has released some great concept he created for Marvel’s The Avengers. Phil worked early on to create sketches and develop designs for the Leviathan, Quinjet, Helicarrier and Iron Man’s MK7 suit. You can see more of his concepts and designs in Avengers: The Art of Marvel’s The Avengers art book. Link: www.saunderscreative.com All images used with permission by the artist. © Marvel Comics. Avengers: Age of Ultron (2013) - Alternate final battle keyframe, Phil Saunders.

THOR | Visual Effects Making Of. Thor | BUF. Thor is an American superhero film based on the comic book character of the same name published by Marvel Comics. Released by Paramount Pictures in May 2011, Thor is the fourth film released as part of the Marvel Cinematic Universe. The film was directed by Kenneth Branagh, and stars Chris Hemsworth, Natalie Portman, Tom Hiddleston, and Anthony Hopkins. The film tells the story of Thor, a god who is exiled from his homeland of Asgard to Earth. While there, he builds a relationship with scientist Jane Foster. BUF spent a year creating spectacular visual effects for the film. The Cosmos Effect BUF designed the cosmos and video sequence where the viewer approaches the realm of Asgard from space.

The BUF team took inspiration from nebulae clouds, Mandelbrot’s fractal imagery, and Jack Kirby’s original comic book drawings as reference. For the design of Asgard, the volcanic island of Bora Bora was a reference with its blue turquoise waters and a mountain in the center. The Rainbow Bridge Thor. Guardians of the Galaxy Knowhere | VFX Making Of | Framestore. Guardians of the Galaxy: Rocket | VFX Making Of | Framestore. Doctor Strange | VFX Breakdown | Framestore.

Digital Domain Visual Effects. Whiskytree Inc, Visual Effects and Content Creation. Assistant Tools Developer Born on the high grounds of the Pacific Northwest, Emerald was a quiet child, taking apart electronics and drawing comics. In college, she studied acting, stage lighting, and majored in TV/Radio with a focus to work in the film industry. In her spare time, she taught herself how to build computers and write software. After college, Emerald moved to New York City and tried bartending. Still flying half a ship, she happily landed a gig a few years later in San Francisco as a software developer.

Now at Whiskytree, Emerald assists with monitoring and managing the render farm, updates software tools for artists, deploys OS updates, archives footage, assists with plate loading, and more. In her free time, she is probably editing videos, learning new programming languages and computer software, re-enacting Star Wars duels at conventions, or trooping with her non-profit charitable group, Rebel Legion. [/fusion_testimonial][/fusion_testimonials] Iron Man – Rock Solid. Realms, robots & rainbow bridges: crafting Thor. Captain America: super soldier effects. Case study: how to make a Captain America wimp. Art of Stereo Conversion: 2D to 3D – 2012. VFX roll call for The Avengers (updated)

Iron Man 3: more suits to play with. The dark side: behind the VFX of Thor: The Dark World. The Winter Soldier: ILM’s Helicarrier crash: Exclusive. Captain America: The Winter Soldier – reaching new heights. VFX in TV, A to V: Agents of S.H.I.E.L.D to Vikings & More. The VFX of Guardians of the Galaxy. Breaking down Agent Carter’s VFX. Casting the vendors on Avengers. Joss Whedon’s Avengers: Age of Ultron not only reunites and introduces a formidable and popular cast of Marvel characters – it also saw the re-assembling of several formidable visual effects studios to create characters, environments and numerous effects for the film. Guiding the Age of Ultron effects effort was VFX supervisor Chris Townsend and VFX producer Ron Ames, who both oversaw a huge slate of digital work by a vast array of vendors.

“It is incredibly important to get the casting of your VFX vendors right,” suggests Townsend. “Just like you would cast your actors, you cast your visual effects team too. We’ve built up relationships with these companies and we know their strengths and where their creativity lies and what their skilset is, so we’ve been very fortunate that we can build on that.” Above: watch our break down of ILM’s incredible VFX for Hulk, in this video made in conjunction with our media partners at WIRED. Avengers re-assemble Back to the top. Advancing Hulk. VFX in TV: S.H.I.E.L.D + Flash + Black Sails. The Daredevil details. Ever since Netflix premiered all episodes of the first season of Marvel’s Daredevil, many have wondered at the show’s striking title sequence in which a distinctive blood-like substance drips over several key objects. The creative forces responsible for the work were director Patrick Clair and a team of artists at Elastic, who had previously combined on the Emmy-winning titles for True Detective.

We talk to key members of the group, and showcase a making of behind the scenes video. fxg: Can you talk about your brief for the opening titles from Marvel? Patrick Clair (director): The story is at the heart of everything, and storytelling is universal… if we can connect our creative executions to the heart and soul of the story, then our ideas will connect with audience’s everywhere. The showrunners and producers briefed us on the character and the world, and I read the script to the pilot episode.

Video Player Watch a breakdown of the titles. fxg: How did you achieve the dripping fluid? Ant-Man: Marvel’s heist film. The secrets of Daredevil’s seamless effects. Behind Marvel’s marvelous trailer titles. Behind the Scenes: Agent Carter’s Zero Matter. Captain America: a very civil war. Guardians of Kurt. Spider-Man: by Sea and by Air. Building character with Thor (part2) Thor Ragnarok: Hela and back (Part 1) Black Panther: Building Wakanda. Making Thanos Face the Avengers. A Bug’s Wife: Ant-Man and the Wasp. Bonus: Luma Pictures’ new tools for Doctor Strange.

Doctor Strange has been a huge film for Marvel. To achieve their sections of the film, Luma Pictures developed a set of new tools, including some they will even be sharing with the community. Luma Pictures worked on several key sequences including the opening London sequence and they also booked ended the film with the Dormammu sequence and the Dark realm. We discussed the tools they developed especially for the film, and below is an exclusive fxinsider podcast with Luma Pictures' visual effects supervisor Vince Cirelli, discussing the new tools.

London For the London sequence Luma developed a new fractal tool to do volumetric meshing and transforming of the buildings. "With what we needed to do we needed to art direct the speed, the movement and look at all of these 'fractals'," says Cirelli. Luma pictures literally choreographed the fractals, "which is not an easy task. " The Mandelboxes are different from Mandleblubs used the film Suicide Squad. The system used three levels. Doctor Strange’s Magical Mystery Tour in time. Marvel’s latest comic book hero to receive the big-screen treatment is Doctor Strange. The creation of artist Steve Ditko, Strange (played by Benedict Cumberbatch) is a master of ‘black magic’ armed with magical objects and a pet cloak, he defends earth against other dimensions. Dr Stephen Strange is a brilliant surgeon whose career abruptly comes to an end following a tragic car accident.

Unwilling to accept that his life must change, Strange becomes obsessed with healing himself. Finding no solution in science, he travels the world searching for an answer that might bring him relief. His journey takes him to the temple of the Ancient One (Tilda Swinton), where his discovery of magic begins. The film was supervised by Stéphane Ceretti. The French born VFX supervisor began his career as an animator and then as a VFX supervisor at BUF Compagnie in Paris. The film was shot partly at IMAX resolution. One of the other funny aspects of the New York scene were the pigeons. Method Framestore Lola. Doctor Strange: ILM Making of Clip.