Tag Archives: VFX supervision

Pixel Magic provides 100 VFX shots for ’22 Jump Street’

Pixel Magic, with offices in Toluca Lake, California, and Lafayette, Louisiana, completed over 100 visual effects shots for Sony’s 22 Jump Street, directed by Phil Lord and Chris Miller.

Ray McIntyre Jr. of Pixel Magic was called on for 2nd unit VFX supervision supporting Edwin Rivera, the film’s overall VFX supervisor. The Pixel Magic team was tapped to create all of the visual effects for the establishing action scene of the Metro City Port and many other shots in various scenes throughout the movie, such as the CG gantry crane and CG netting that tangles up the heroes, CG windshield cracks on the 18 wheeler truck and CG octopus tentacles.

135_RT_390_aftersecondLater in the movie, for spring break in Puerto Mexico, Pixel Magic created thousands of CG beach goers for the beach party. Along with the CG, Pixel Magic provided greenscreen composites and many complex rig removals.

CG people of various shapes and sizes, and their clothing and textures, were created in Autodesk Maya. “We used our own motion capture system to generate various animations such as people dancing, looking up and moving around,” says Pixel Magic’s VP/GM Ray Scalice. “The CG crowds were randomized using Golaem and rendered in VRay. Compositing these elements with the live-action beach plate was done in After Effects and Nuke.”

The company completed a major portion of the work for 22 Jump Street in its Louisiana facility, with production management and client reviews out of its Los Angeles offices.

In addition to 22 Jump Street, Pixel Magic recently completed 150 shots of CG and greenscreen crowds for When The Game Stands Tall, a Mandalay Pictures production. They are now working on My All American for Anthem Productions, Barely Lethal for RKO Pictures and Hallmark’s Big Sky.

Five tips for VFX supervising on set

By Hasraf “HaZ” Dulull

I’ve been on many sets over the course of my career as a visual effects supervisor and I’ve seen just about everything, from full on greenscreen sets, motion control sets, high-speed photography elements shoots and even guerrilla-style handheld shoots that needed visual effects added later in post.

Although most projects are unique in their own way, the fundamentals of gathering VFX data on set are always the same, regardless of the scale or budget of the project. When I’m preparing to VFX supervise a shoot, there are five fundamentals I keep in mind. Here they are:

1) Bring a laptop with you that is loaded with editing software (Premiere or FCP) and compositing software (Nuke or After Effects) to be able to play back animatics and do test Continue reading

On-Set: VFX data gathering with Arri Alexa

By Hasraf “HaZ” Dulull

A few months ago I was VFX supervising on location for a rather large-scale commercial shot on the lovely Arri Alexa.

Whenever I am doing on-set VFX supervising, one of the many things I do is take notes of the lens used, height of jib crane, F-stops, FOV etc. To do this I usually hassle the camera assistants for that info and then scribble it down as we move onto the next shot and setup.

But when things start changing, such as different takes with different angles and lens or new setups made on the fly, it can be a nightmare to keep on top of all the camera info.

So on this particular commercial shoot, as I passed the DIT guy, I noticed he was dumping the Continue reading