![]() We experimented with hundreds of simulations, varying colors, quantities of sparkle vs. "The director was looking for something beautiful and physical yet magical, and it was in finding that balance where the challenge lied. "One of the interesting challenges for us on Tooth Fairy was creating the fairy dust effect," explains Chris Harvey, Prime Focus, visual effects supervisor. ![]() This involved integrating fairy wings to match the practical wings and helping the wings fly and unfold. Most of the work was built around dust effects, simulated using proprietary Prime Focus particle renderer Krakatoa, and lots of simulation. Prime Focus also did the digital double shot along with some digital matte painting shots. Prime Focus did the bulk of the 3D, including fairy wing replacements, digital wings, all the fairy dust effects, which included a variety of fairy dust, and the dust vortices. Meanwhile, Prime Focus delivered 90+ shots, working out of its Vancouver studio with a couple of Winnipeg artists chipping in. So we took her wings off and put in CG wings and added fur to the edges and made them gracefully come in and God rays behind her, and it was a nice little shot to work on." "They had shot it with some prosthetic wings on and, of course, they bounced around, and once you have Julie Andrews in an angelic moment, it looks kind of wonky - you have to fix it," Goux adds. ![]() "ĬIS Vancouver also did a wing shot in which Julie Andrews (who else?) first floats in as the Fairy Queen. We had his performance on a greenscreen and built a 3D version of his head and reprojected the greenscreen performance onto a 3D head and did the full deformations of the jiggled deformers and seemed to get all that comedic who-haw. The only other real 3D that we did was the goofy moment when he takes the bad fairy drugs and his head blows up like a light bulb and squashes down. We did some particle work where he's invisible and skating on the ice before he starts to take the guys out. We used Maya for any 3D and used Shake for all of our compositing. "We rebuilt the bedspread in 3D and made sure we did all the right deformations and making sure the texture looked to scale and all that stuff. "It wasn't enough to leave him walking along this spread fabric and blending in," Goux continues. And this was a chance to think about differently and really focusing on making these real gentle moments look real."Įven such details as Johnson walking on the bedspread were made more believable in CG. It was a pretty sequence to do, especially since you're turning The Rock into. Lots of depth of field details, and really making sure that the in-comp sculpting and lighting to make sure that he was really to scale, and generating the right shadows and reflections on the ground. "Under Jake Morrison's guidance, and he's a pretty detailed guy, he really pushed us - and we pushed ourselves - on the illusion of him being so small. He starts off shrinking on the front deck and goes to put the money under the pillow, and we spend a long time making sure that was a little something extra and not just your standard greenscreen work. "His first assignment was our main sequence. "It contains lots of pretty intense and very detailed greenscreen work," explains Randy Goux, visual effects supervisor at CIS Vancouver. As Randy Goux, CIS Vancouver's visual effects effects supervisor, suggests, "Usually, in our careers, we're either blowing something up or flying through space."ĬIS Vancouver worked on a total of 130 shots (mostly 2D), centered particularly around Johnson's first assignment as a minor league hockey player on angel probation for trying to convince his girlfriend's daughter that there is no tooth fairy. ![]() Turning Dwayne "The Rock" Johnson into a lovable angel was quite a fun change of pace for CIS Vancouver, the lead vendor on Fox's Tooth Fairy. Check out the trailer and clips from Tooth Fairy at AWNtv!
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