Take a Look at the CGI Inside "The Old Guard" VFX Breakdown
1,673The Old Guard Is a Netflix Feature Film based on the Comic book of the same name.
It was due for release in July 2020 and so was affected by the Covid Lockdown during Post-production, forcing VFX houses to scrabble to change work and communication methods in order to deliver a total of 835 shots on time.
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Milk
The Milk team worked on "The Dockyard", The "Killroom" and the church fight scenes, and the "Camp Leatherneck" established shots and set extensions.
Camp Leatherneck was shot on a private airfield in White Waltham, England.
The art department built an extensive set, bringing in tons of sand to cover the ground. 6, 20 by 40 foot (6m by 12m) bluescreens attached to Telehandlers were used as a portable backdrop which then could be easily moved to any part of the set as they were needed.
The flashback showing Andy's immortal companion being placed in an Iron Maiden and dropped into the sea was just some people filmed in front of a blue screen. Milk Created a 2.5D matte painting of the whole village and the harbor.
For the fight scenes, Prop weapons were digitally extended and wires were painted out in addition to blood spatter and dismemberment work.
Image Engine
Due to their work on "Logan" Image Engine was brought in to work on the Immortal's "Regeneration".
Working with a concept artist, they researched medical websites and built up a database of different wounds and their stages of healing, including a time-lapse of a finger wound healing over 6 weeks. All this was used as a reference for creating a Customizable, procedural wound-healing system in Houdini.
Healing stages were identified, from the initial wound, to scabbing, to new skin growth and residual bruising and then the entire process had to be compressed into a few seconds. The team was concentrating on realism, it didn't matter how gruesome it was, it just had to look real.
During production, wound placements were planned and makeup artists added residual blood around the planned area, this residual blood was used as a marker for the VFX team in Post. Squibs were used on set so that actors had something to react to and the VFX team also used them as a reference for additional blood hits.
For the stomach regeneration scene, a Three-Stage prosthetic was used, the interior of which was kept green, this gave them the placement, size, and scale of the wound and helped the actor with his interaction and performance.
MR. X
Mr.X's work included the creation of CG planes and Plane extensions and all the scenes to do with Merricks Penthouse, including the fight scenes leading up to it.
Merricks Penthouse was the biggest CG environment in the film and was located in London, England, they weren't allowed to shoot inside the building so only the exterior scenes were shot.
They took a LIDAR at street level and another on the roof, this one would give them the views from the windows in the interior of Merricks penthouse. they also shot 360-degree time-lapse high-resolution stills to capture the times of day.
For the interior shots, the team went to a house in Wentworth, England that had 270 degrees of floor to ceiling windows.
Extensive greenscreens were set up which unfortunately turned the house into a green box and everything inside was reflective meaning that the Mr.X team had a huge amount of crew reflections to paint out and "Green spill" to deal with.
The "Final Jump" scene was composed of
The LIDAR taken of the exterior in London,
the "Falling" shot captured by having a camera on a "Libra head" being dropped from a "descender" rig,
the Plate photography of the interior in Wentworth,
The Photography shot in a backlot in Shepperton where the actors hung from wires in front of bluescreens with a wind machine and the Camera doing the work, and CG builds. This was all stitched together by the Mr.X team to create a Continuous shot.
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