The Making of Warm Bodies, February RFX/Autodesk User Group Meeting Posted: February 8th, 2013
Join RFX, Gnomon and Autodesk on Thursday, February 28th for a special event showcasing the visual effects of newly released zombie romantic comedy, Warm Bodies. Under the direction of Jonathan Levine, best known for 50/50, Warm Bodies blends elements of horror, teen angst, humor and the power of love — all with the help of visual effects facility LOOK Effects.
LOOK: The Making of Warm Bodies
Over a period of approximately 10 months, LOOK’s Vancouver facility opened its doors, built a team of about 45, structured a character animation and visual effects pipeline and produced around 350 shots.
Their work included extensive character animation on “the Boneys”, an evolved form of zombie that plague humanity. Working directly with the director and his creative team, LOOK had extensive input into the look, feel and movement of these most-extreme undead.
LOOK also designed and created a digital city that is featured in a fully-CG fly through, linking up practical plates shot on location in Montreal. In order to avoid locating the story there, however, the digital city had to shift towards the generic so as not to be instantly recognizable.
Come hear on-set supervisor Everett Burrell and digital supervisor Mat Krentz talk about how LOOK’s work allowed Levine to believably tell this sometimes gruesome, sometimes funny, but always heart-felt tale that would not have been possible without visual effects. In doing so, this mid-sized fx facility produced work that formerly has been reserved for the “big guns” and made the viewing experience as believable and immersive as possible.
Thinkbox: Krakatoa for Maya Demo
Thomas Phariss, Borislav “Bobo” Petrov, and Chris Bond of Thinkbox will be joining us to demonstrate workflows with the new Krakatoa for Maya high-volume particle renderer.
Come learn about all the awesome particle effects you can produce right inside Maya. Generate hundreds of millions of particles using regular Maya particles or nParticles, import and manipulate 3rd party particle simulations from products like RealFlow or Naiad, or convert geometry into point clouds and render them using various volumetric shading algorithms in a matter of seconds.
Join Autodesk’s Dean Schirm and learn all about Autodesk Smoke 2013. Smoke brings editing and effects together in one Mac application, now at a much lower price. You can bring in work from other NLE’s, or do all your editing, effects and creative finishing work directly inside Smoke.
6:30 p.m. – 7:30 p.m.: Meet and greet
7:30 p.m. – 9:00 p.m.: Presentation
1015 N. Cahuenga Blvd., Hollywood, CA 90038
Senior Visual Efffects Supervisor at LOOK Effects and On-Set Supervisor on Warm Bodies
Everett has almost 30 years of experience. In the mid-1980’s Burrell began his career perfecting his craft under effects industry luminaries Greg Cannom, Stan Winston, and Rick Baker. In 1989 he and John Vulvich founded Optic Nerve, a makeup effects company that quickly gained attention with their work on such features as George Romero’s The Dark Half and Tom Savini’s remake of Night Of The Living Dead. Their reputation for producing high-quality effects on tight production schedules and budgets led to their producing the alien creatures and prosthetic makeups for the successful science fiction television show “Babylon 5,” for which they won an Emmy in 1994.
During this time, Everett realized that he had an aptitude for computer imagery. Leaving Optic Nerve, he joined Flat Earth Productions where he was instrumental in producing digital visual effects for television shows that included “Hercules,” “Ally McBeal,” “Charmed” and the highly-praised mini-series, “Dune.”
As his experience and skills increased, Everett left Flat Earth to join visual effects company Café FX. Because of his many years working in feature films on-set, executing practical effects, he became an invaluable asset and the perfect liaison between the on-set film production crew and the digital artists back at the studio. He supervised impressive visual effects for Blade III, Sin City, Hellboy, The Mist and the award-winning Pan’s Labyrinth.
After many successful years at Café FX, Everett struck out on his own as a freelance visual effects supervisor and producer. During this time, he has been responsible for the jaw-dropping effects of Max Payne, Battle: Los Angeles, Prometheus, Warm Bodies, and most recently, the highly-demanding work load of A Good Day To Die Hard, the latest of the Bruce Willis Die Hard films.
Digital Effects Supervisor
Mat Krentz, Digital Effects Supervisor, brings a wealth of visual effects production experience to LOOK’s Vancouver facility. Mat’s skill as a compositor took him around the globe and allowed him to earn his chops at companies that include ILM, CafeFX, CIS-Vancouver, Rainmaker, Animal Logic, Frantic Films and MPC Vancouver. His extensive credits include: Transformers 3: Dark Of The Moon; Alice In Wonderland; Star Trek; I, Robot; Sucker Punch, The Twilight Saga: New Moon; Indiana Jones And the Kingdom Of The Crystal Skull; The DaVinci Code (for which he received a VES nomination); “Stargate Atlantis – Rising”Pilot (which garnered Emmy and VES nominations) and Leo Award Winner The Collector. Mat was very happy to return home to Vancouver and help establish LOOK as a premiere visual effects house as Digital Effects Supervisor on Warm Bodies.