That’s not the only time wigs have caused VFX artists headaches. “If I looked at the shot now,” that compositor said, “I could probably point out to you all of the morphs and dissolves that most people don’t see when watching it casually.” In the end, they spent over two weeks working on that single head of hair, for an expository sequence in The Avengers that you almost certainly don’t remember. They even tried getting the original wig Johansson wore on set, so they could shoot the wig by itself on a green screen and then marry those shots with the original footage. They blurred the edges to more easily integrate it. For Johansson’s wig, the compositor and their team struggled to seamlessly blend the actress’s fake tresses into the finished background. The compositor’s job is to merge all the elements from a movie, from the principal photography to the special and visual effects, into a single, final shot: the one you see in the theater or on your TV at home. We had to figure out how to get sky behind her head instead of mountains. Scarlett Johansson had this curly red wig on. “The heli-carrier sequence was shot on a runway in New Mexico. According to a compositor who worked on the first Avengers movie, this is not an easy task. When you shoot an actor in one location but have to digitally relocate them to another, which happens quite frequently, you have to bring along every last follicular imperfection with them. It is also a massive problem if you happen to be making a film or a television show. It’s unavoidable but also quite natural for hair to behave this way. Look in the mirror right now and you’ll inevitably find not one, but many stray hairs poking out this way and that. It never stays in the same place, unless you have Doctor Strange amounts of pomade on you. ![]() A head of hair is a wild, unreliable thing.
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