The case with the film’s Washington Monument scene—but while that was indeed Holland under the Spidey mask, the monument itself was a fake, erected on a studio sound stage. “We couldn’t film at the real Washington Monument, but we built very impressive, very large chunks of the monument for filming.” Holland got up the structure with the aid of a wire rig, though even with his background it was far from a walk in the park. “We did two weeks and every single shot was upside down. And my head just took a pounding, man, from all the blood that was rushing to it.” The Jungle Book The CGI Jon Favreau used for Iron Man was nothing compared to what he did for his 2016 live-action adaptation of The Jungle Book. To create an entire jungle around a human actor, they needed to pull out all the stops. The lighting was particularly difficult. The director explained: “It’s very hard to fake light and shadow. So everything became about using panels of LEDs to project light so if we had the kid bowing before the elephants, you have panels where we actually would pre-animate the elephants and they would cast the shadows on the kid in the exact right way.” It`s much easier to play and win here, then to do movie effects: https://casinoslots-ie.com/eco-payz
This meant that 12-year-old star Neel Sethi had to imagine the animals he was interacting with, though Favreau was on hand to make the experience as real as possible for the young actor via puppets and actors in blue suits. RoboCop Paul Verhoeven’s RoboCop got the most out of the special effects available in the ’80s, using a combination of stop-motion and prosthetic builds to create a movie that was disturbingly realistic at times. In the 2014 reboot, Murphy gets his injuries in an explosion that was created digitally, but the suit he dons afterward was actually real. “And there was a philosophy from the start that we were going to have a head-to-toe suit.” The challenge was building a suit that was mobile and easy for the digital department to add onto. The Martian Ridley Scott is no stranger to special effects, but creating the red planet onscreen for The Martian may have been his biggest challenge as a director. While some practical effects were used, a huge amount of digital work was required to give The Martian Scott’s desired look.
VFX supervisor Anders Langlands told Gizmodo: “[Ridley Scott] is famous for doing his little sketches which are sort of really cool Ridley-grams. We’d ask ‘What do you want the background mountains to look like in this shot?’ And he’d sketch out a little diagram of what they wanted. So you just literally match that and he’d be happy.” A lot of time was spent finding the right hue for the skies and arid landscapes of Mars, though in the end it was a simple thing that caused the VFX team the most problems: the helmet visors. “But of course glass visors would reflect the crew, and the lights, and the sound stage, so all the helmet visors you see in the film are actually added in digitally.”