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Proof Provides Previs and Postvis for Marvel’s Guardians Of The Galaxy

August 12, 2014 | By

LR-2 Guardians PROOFLos Angeles-based visualization facility Proof recently provided extensive previs and postvis services for the new Marvel Studios motion picture Guardians Of The Galaxy. The film was released by Walt Disney Studios on Aug. 1.

“Our assignment on Marvel’s Guardians Of The Galaxy was to previs several of the big action set pieces in the film,” said Ron Frankel, Proof’s founder and creative director. “We enjoyed working closely for the past year and a half with director James Gunn to maintain his vision and make those sequences exciting. Guardians Of The Galaxy presented us with numerous big action sequences that have really never been done before. Full CG, high-adrenaline battle sequences that required a lot of choreography and blocking for the staging of the action. James was very good about seeing the action from the audience’s point of view, and doesn’t want viewers to be lost or confused by any of the action.”

Earl Hibbert, Proof’s previs supervisor on this project explained that one of the big challenges on this film was helping bring the characters Rocket and Groot to life. “It was very important to James that the audience forget that these two characters were CG, and, instead, accepts them as real characters – characters that actually exist in the world of the film – because they really are the heart of the movie.”

LR-4 Guardians PROOF“As far as technical challenges, there was a lot of greenscreen involved in production, and most of the sets were built from scratch, so we had to make sure that the action we designed during previs would fit into the sets that were being constructed. I worked very closely with production designer Charlie Wood and visual effects supervisor Stephane Ceretti to make sure the dimensions of our set would closely match the actual build. In this manner, the action we designed during previz could be captured on the set, while still giving James the flexibility to improvise new shots if he wanted to.”

“We wanted to be as prepared as possible for a fairly complex and fast paced shoot,” said Ceretti. “Earl and his team did an amazing job at collecting all the information from James, the art department and the VFX department, to come up with previs that really made sense and made a big difference in the way we prepped and shot the movie. All of the main sequences were previsualized before we started shooting, which allowed all departments to get a visual sense of the film and what was required to achieve it during the shoot. It was also an essential tool for the VFX vendors.”

After the shoot, the previs team transformed into a postvis group. “We had a huge task ahead of us, with more than 1,900 VFX shots to postvis,” said Ceretti. “We could not show the movie without fully post-visualizing our two CG characters, Rocket and Groot, and all the spaceships and aerial effects, as well as adding in backgrounds and set extensions for many of the greenscreen sets. A huge effort was put in the collaboration between James, Earl, the editors, and the VFX department to complete a version of the director’s cut that would have all the shots postvised.”

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