“Lewis has a thorough knowledge of Qube’s XP-D and XP-I digital cinema servers and the Xi 4K IMB,” said Raja Enok, director of sales and marketing for Qube Cinema in Asia. “He’s been involved in the field testing of the XP-D server and Xi IMBs, and has worked with independent cinema owners in the area for a long time.”

Both the XP-D and XP-I are DCI certified, using Qube’s version 3.0 server software, which provides a common user experience for setup, operation and maintenance for either server while integrating seamlessly with all theater management system software including the Cinedigm TCC. The XP-I and Xi 4K IMB are compatible with Series 2 DLP projectors. XP-D users can easily upgrade to the XP-I and Xi IMB to accommodate 4K resolution, higher frame rates and 3D content. The DCI upgrade for Qube servers in the field will be coordinated by the Independent Cinema Association of Australia’s Network Operations Centre (ICAA NOC) and be conducted by Thorne in conjunction with each cinema’s usual maintenance provider.

“Lewis is well-known to many ICAA cinema owners and understands the support requirements of  independent cinemas and their equipment,” Enok explained. “We’re excited to see things growing so quickly in Australia and New Zealand.”

Requests for equipment support for ICAA cinemas should be directed through the ICAA NOC, at 1300-306-857. Lewis Thorne can be reached at 0420-989-515 or lewis.thorne@qubecinema.com. For more information about Qube Cinema and its digital cinema products, visit www.qubecinema.com.

About Qube Cinema, Inc.

Qube Cinema is an international manufacturer of Digital Cinema technology and mastering solutions. A subsidiary of India-based Real Image Media Technologies, Qube Cinema draws on decades of experience in media, cinema and entertainment. The company is committed to creating a seamless Digital Cinema environment for exhibitors, filmmakers and postproduction companies with technologies that are innovative, flexible and cost-effective. Qube Cinema’s product lines include the Qube XP series of digital cinema servers, Qube Xi 4K Integrated Media Block, QubeMaster software solutions, and Qube KeySmith KDM generation system. Qube Cinema, Inc. is based in Burbank, California. For more information, visit www.qubecinema.com.

Showcasing the Canon EOS C500 4K digital camera

The Canon 4K DI theater at NAB will showcase the incredible image quality of the Canon EOS C500, the company’s professional 4K digital cinema camera. The EOS C500 4K digital camera can capture uncompressed RAW 4K and 2K at frame rates of up to 120 fps as well as HD video. It is designed for high-resolution motion picture productions.

Simplifying the 4K Workflow with the Qube Xi 4K IMB

The system uses a single Qube XP-I server, which is capable of streaming up to 1 Gbps of data, sufficient throughput to support DCPs at a frame rate of 30 fps at 4K or up to 120 fps at 2K. The postproduction version of the Qube Xi 4K IMB featured in Canon’s NAB 2013 booth has a Quad 3G interface with four 3G-SDI cables that can link to color grading or finishing systems that stream uncompressed 4K content directly to a 4K d-cinema projector. This gives facilities a simplified 4K postproduction workflow, allowing them to review and process 4K master image files from the EOS C500 4K digital camera, and then switch seamlessly from uncompressed 4K color grading to 4K DCP playback without swapping input boards. This allows for immediate comparisons and precise quality control of all deliverables.

“Being able to color grade uncompressed 4K image files directly from the Canon EOS C500 4K digital camera, through the Qube Xi 4K IMB and straight into their 4K projector is a huge leap forward for postproduction studios,” said Eric Bergez, director of sales and marketing for Qube Cinema. “Canon can review their 4K master images, color correct in 4K and then encode and review a 4K DCP all from the same 4K projector. Having one system for review and playback of all their 4K content will save postproduction facilities time and money.”

“Canon is really pushing the 4K envelope in their DI suite at NAB,” said Bergez. “This will show people what can be done with the EOS C500 digital camera, and we’re pleased that they turned to Qube to make this happen.”

Visitors to NAB can see Qube Cinema’s 4K technology first-hand at booth SL12216 in the Lower South Hall and at the Canon 4K DI Theatre in the Central Hall, Booth C4325. For more information about Qube’s XP-I, Xi IMB or Quad 3G, or to schedule a demo at NAB, contact Eric Bergez at sales@qubecinema.com or 818-392-8155.

About Canon U.S.A., Inc.

Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With approximately $40 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents registered in 2012† and is one of Fortune Magazine’s World’s Most Admired Companies in 2013. In 2012, Canon U.S.A. has received the PCMag.com Readers’ Choice Award for Service and Reliability in the digital camera and printer categories for the ninth consecutive year, and for camcorders for the past two years. Canon U.S.A. is committed to the highest level of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

†Based on weekly patent counts issued by United States Patent and Trademark Office.

About Qube Cinema, Inc.

Qube Cinema, based in Burbank, CA, is an international manufacturer of digital cinema technology and mastering solutions. A subsidiary of Real Image Media Technologies, Qube Cinema draws on decades of experience in cinema and holds a leadership position in the transition from analog to digital technology. The company is committed to creating a seamless digital cinema environment for exhibitors, filmmakers and postproduction companies with DCI-compliant products that are flexible, reliable and highly cost effective. Qube Cinema’s product lines include the Qube XP series of servers, QubeMaster software solutions, Qube Keysmith KDM generation and the Qube Xi 4K Integrated Media Block. For more information, visit Qube Cinema at www.qubecinema.com.

QubeMaster Xport 2.0 is a plug-in for Compressor. It uses multithreaded CPU optimization during the decoding of source image files and encoding of the final JPEG 2000, both of which are CPU-intensive processes.

“Qube Cinema already offers high-performance DCP mastering software for postproduction,” said Eric Bergez, director of sales and marketing for Qube Cinema. “With the addition of multithreaded CPU optimization in QubeMaster Xport 2.0, we have brought the performance of QubeMaster Pro to our Compressor clients by increasing the execution of DCP mastering to the full capacity of their workstations.”

All formats that are supported by Compressor, such as Apple ProRes, MPEG-2, H.264, QuickTime and stereoscopic 3D content can be mastered to 2K and 4K DCPs, including SMPTE DCPs, quickly and easily.

“QubeMaster Xport has been used to make thousands of DCPs around the world,” said Bergez. “It allows independent filmmakers and post houses to finish, package and distribute DCPs at a fraction of the cost of alternative systems.”

QubeMaster Xport 2.0 is part of the QubeMaster family of Digital Cinema mastering products, including QubeMaster Pro, a comprehensive mastering system aimed at high-end post facilities and distribution service providers, and QubeMaster Xpress 2.0, a user-friendly standalone Windows-based DCP mastering application. The QubeMaster Xport 2.0 software supports 2D and 3D mastering, custom 3D LUTs for XYZ color space conversions and 2K and 4K DCP mastering.

Pricing and Availability

Pricing for QubeMaster Xport 2.0 starts at $799 USD, which allows for encoding of 2K DCPs. Current users of QubeMaster Xport can receive a free upgrade to the new version 2.0. Stereoscopic 3D and 4K upgrade options are also available. QubeMaster Xport 2.0 will be available Q2 of 2013 for download from the Qube Cinema website at www.qubecinema.com/products.

Qube Cinema will demo QubeMaster Xport 2.0 at booth SL12216 in the Lower South Hall during NAB in Las Vegas, April 8-11. For more information about Qube or to schedule a demo at NAB, contact Eric Bergez at sales@qubecinema.com or 818-392-8155.

About Qube Cinema, Inc.

Qube Cinema is an international manufacturer of Digital Cinema technology and mastering solutions. A subsidiary of India-based Real Image Media Technologies, Qube Cinema draws on decades of experience in media, cinema and entertainment. The company is committed to creating a seamless Digital Cinema environment for exhibitors, filmmakers and postproduction companies with technologies that are innovative, flexible and cost-effective. Qube Cinema’s product lines include the Qube XP series of digital cinema servers, Qube Xi 4K Integrated Media Block, QubeMaster software solutions, and Qube Keysmith KDM generation system. Qube Cinema, Inc. is based in Burbank, California. For more information, visit www.qubecinema.com.

Compressor is a trademark of Apple Inc. Other company and product names may be trademarks of their respective owners.

Burbank, CA: Mar. 26, 2013… Qube Cinema will be demonstrating its system for integrated 4K DCP review and playback at the NAB Show in Las Vegas in April. The Qube XP-I server, Xi 4K Integrated Media Block (IMB) and the Quad 3G interface for digital cinema projectors allow integrated postproduction and digital cinema mastering workflows. Postproduction facilities with 4K DI suites are now able to use one projector setup for both HD-4K uncompressed color grading and 2K-4K digital cinema playback providing comprehensive review and quality control with this one Qube system.

The postproduction version of the Xi IMB features a Quad 3G interface with four BNC connectors that can be connected to color grading or finishing systems to stream uncompressed 4K content directly to a Series 2 DLP cinema projector. The Xi IMB with Quad 3G inputs offers seamless switching between 4K color grading formats and 4K DCPs from the same projector. Color grading and 4K DCP review can be done using a single projector in the screening room, allowing immediate comparisons and precise quality control of deliverables.

“Thanks to Qube Cinema, we have real-time color grading in our 4K DI theater,” said Paul Korver, executive producer at Cinelicious. “The Xi IMB allows us to view material at true 4K resolution from our 4K DLP cinema projector. The Qube Xi 4K IMB lets us go from color grading to DCP review with the flip of a switch. There are no cables to change, no swapping of cards. One minute we’re looking at the uncompressed master image data for color grading and the next we’re reviewing the 4K DCP.”

“Qube understands that directors, cinematographers and colorists want to know how their 4K images are going to translate to the screen,” said Rajesh Ramachandran, CTO Qube Cinema. “The simplicity of the user experience with the XP-I and Xi IMB, with Quad 3G inputs, ensures this happens.”

“Needing only a single server is a huge plus for us,” explained Korver. “We chose Qube because of their cutting-edge technology and willingness to push boundaries. They respond quickly to new technologies in the market, whether it’s 4K, 3D or high bit rate DCP mastering and playback.”

Visitors to NAB can see the new Qube technology first-hand at booth SL12216 in the Lower South Hall. For more information about Qube’s XP-I, Xi IMB or Quad 3G, or to schedule a demo at NAB, contact Eric Bergez at sales@qubecinema.com or 818-392-8155.

About Qube Cinema, Inc.

Qube Cinema is an international manufacturer of Digital Cinema technology and mastering solutions. A subsidiary of India-based Real Image Media Technologies, Qube Cinema draws on decades of experience in media, cinema and entertainment. The company is committed to creating a seamless Digital Cinema environment for exhibitors, filmmakers and postproduction companies with technologies that are innovative, flexible and cost-effective. Qube Cinema’s product lines include the Qube XP series of digital cinema servers, Qube Xi 4K Integrated Media Block, QubeMaster software solutions, and Qube Keysmith KDM generation system. Qube Cinema, Inc. is based in Burbank, California. For more information, visit www.qubecinema.com.

The MG 3D Theater at Moody Gardens upgraded from film to digital two years ago with two 4K Barco projectors and a 2K server. Because they wanted to show high-resolution content, they immediately began the search for a server and integrated media block that could deliver the full 4K power of their two Barco 4K projectors. Their search led them to the Qube Cinema XP-I server, which offers up to 1 Gbps throughput of uncompressed data to paired Xi 4K IMBs, delivering 4K resolution at 30 fps or 2K 3D content up to 120 fps per eye.

“The only server and IMB technology we saw that could deliver 4K 3D content was the Qube XP-I server,” said Brandon Compton, theater director at Moody Gardens. “Its high frame rate and high bit rate capabilities offer a much improved viewing experience to our audiences.”

In addition to its HFR 3D capabilities, the XP-I server can synchronize dual DLP projectors, thus increasing screen brightness for 3D exhibition to 14 foot-lamberts, a level which is comparable to that of 2D screenings. This is especially pertinent for giant screens like the 80’ by 60’ screen at the MG 3D Theater where high brightness adds greatly to the power of the experience. But it’s the ease of operation that has really impressed the staff at Moody Gardens.

“The results of audience surveys are consistently great, with high marks for image clarity,” noted Compton. “The big difference from our perspective is in the equipment booth. The XP-I makes it so simple to ingest content and build show files. Qube has made life a lot easier for the guys in the booth.”

Moody Gardens Set to Host the GSCA Film Expo and Digital Symposium

Established in 1986, Moody Gardens is an educational center in Galveston that uses nature for recreation, rehabilitation and research. The giant screen theater, in operation for over twenty years, was one of the first attractions at the center. In 2012, the MG 3D Theater made history by demonstrating high bit-rate stereoscopic 4K projection for the first time from a single Qube XP-I server and two Qube Xi 4K IMBs at its digital cinema symposium.

“Qube Cinema remains the only manufacturer capable of delivering dual-projector 4K 3D,” said Eric Bergez, director of sales and marketing for Qube Cinema. “Along with our ability to playback from a single DCP, the Qube XP-I and Xi 4K IMB provide our GSCA clients with the power to playback large format DCPs at bitrates four times greater than the standard DCI spec. The system also supports extreme HFR at 120 fps per eye on all our dual-projector configurations.”

With installation of the Qube XP-I server and Xi 4K IMBs, Moody Gardens joins the giant screen theaters of the Houston Museum of Natural Science,  the Peoria Riverfront Museum, the Milwaukee Public Museum and the National Museum of the United States Air Force using Qube Cinema technology to present true 4K 3D movies, such as The Last Reef and Flight of the Butterflies. The MG 3D Theater remains unique in being able to screen both 15:70 films as well as digital content.

After hosting its own digital cinema symposium for the past two years, Moody Gardens is pleased to host the GSCA Film Expo and Digital Symposium, Mar. 18-21, 2013 in Galveston. Attendees to the GSCA symposium can see demonstrations of the Qube Cinema setup. The Qube XP-I server and Qube Xi 4K IMB are available from Qube Cinema and its worldwide network of resellers and system integrators. For more information visit www.qubecinema.com.

About Qube Cinema, Inc.

Qube Cinema is an international manufacturer of Digital Cinema technology and mastering solutions. A subsidiary of India-based Real Image Media Technologies, Qube Cinema draws on decades of experience in media, cinema and entertainment. The company is committed to creating a seamless Digital Cinema environment for exhibitors, filmmakers and postproduction companies with technologies that are innovative, flexible and cost-effective. Qube Cinema’s product lines include the Qube XP series of digital cinema servers, Qube Xi 4K Integrated Media Block, QubeMaster software solutions, and Qube Keysmith KDM generation system. Qube Cinema, Inc. is based in Burbank, California. For more information, visit www.qubecinema.com.

Qube Cinema engineers worked closely with Microcinema to deliver a system for theater owners who need to be able to show both DCI and VC-1 encoded content. They developed Microcinema’s proprietary M-box, an interoperable server that contains either the Qube XP-D or XP-I server to play DCI content and another server that can play VC-1 encoded content. The servers work in parallel with the same projector using Theater Management System (TMS) software and automations.

“We chose Qube Cinema because it was the only company capable of realizing our idea of interoperability of DCI and non-DCI content,” said Silvana Molino, CEO of Microcinema. “Qube delivers whenever we ask for experimentation and improvement. They offer complete and ongoing support to our wide network of theaters.”

The Equipment that Runs the Show

Both the XP-D and XP-I servers are fully DCI compliant and integrate seamlessly with all major TMS software. Microcinema has around-the-clock access to Qube technicians to remotely access any server via its web interface, ensuring the systems stay up and running. The XP-I server and Xi IMB allow theaters to exhibit 3D and high frame rate (HFR) movies, such as The Hobbit, as well as offering full 4K resolution.

“Exhibitors are free to choose the server they prefer,” explained Molino, “but 90 percent of the time they choose to install Qube Cinema equipment based on our recommendation.”

In addition to installing D-cinema systems, Microcinema, with headquarters in Legnano, a town close to Milan, offers theater owners content and advertising. Microcinema relies on bidirectional satellite transmission to send and receive data. Pre-cleared content is delivered directly to theaters while Microcinema receives diagnostic data that allow it to manage, control and maintain the system. The company monitors data about the status of hard drives, software, projector lamps and whether the UPS (uninterrupted power supply) is connected and functional. Microcinema also receives the projection log, showing which screens are showing what content and when.

“The exhibitors are happy to have their content monitored by us,” said Molino. “Often we can resolve an issue before they even know something is wrong.”

Simple Upgrade for the Advent of HFR 3D Content

Qube Cinema and Microcinema have upgraded theater systems in Florence, Trento and other cities to the XP-I server and Xi IMBs so they are outfitted for full 4K playback and HFR 3D content. Recent showings of the HFR 3D The Hobbit: An Unexpected Journey have met with great audience appreciation.

“Although most of our installations have used Qube’s XP-D server, we are seeing more and more theater owners upgrading to the Qube XP-I server and Xi IMB,” said Molino. “Now they have access to the high frame rate and 4K capabilities they offer. It’s an easy upgrade for us to do.”

Microcinema partners with a postproduction facility in Rome that provides it with VC-1 encoded content. Recently the post house also upgraded to the Qube XP-I server, networking it into their projector with QubeMaster Pro, Qube Cinema’s powerful encoding and packaging system, to deliver DCI content to Microcinema.

“Our post partner found Qube’s XP-I server to be the most complete and flexible option to simulate the full digital chain in their dedicated projection room,” said Molino. “Now they use their internal studio for DCP encoding and content review.”

Offering an Extensive Library of Content

Microcinema is an installation company with a twist. In addition to its first-class equipment and service, the company has a catalogue of content available to theater owners, including art-house films, first-run movies and live-event showings. Among its most popular offerings are live and recorded opera and ballet performances from around the world.

“We are well known in Italy for providing a rich library of alternative content,” said Molino. “In February we offered a live performance of the ballet, Notre Dame de Paris, from La Scala in Milan, to over one hundred theaters. The final box office was €120,000. This is a good approach for expanding audiences.”

It’s not just classical events that are popular either. In November 2012, Microcinema distributed a concert film, QUEEN Live in Budapest, to 240 theaters. As well as working with conventional theater chains, Microcinema works with art houses and cinemas run by associations connected to the Catholic church.

“Qube Cinema is pleased to have found an innovative partner in Microcinema for our Italian installations,” said Nigel Dennis, director of sales and marketing for Qube Cinema in Europe. “Theirs is a good model for enhancing business opportunities for theater chains as well as independent theater owners. The quality of the equipment, the level of service and their extensive library of content expands what is possible.”

The Qube XP-D and XP-I digital cinema servers, along with the Xi 4K IMB, are available from Qube Cinema and its worldwide network of resellers. For more information visit www.qubecinema.com.

About Microcinema

Microcinema is the leading Digital Cinema Network in Italy for distribution of films and HD alternative content to over 250 screens connected via a dedicated bidirectional satellite line. Microcinema offers technology supply and services together with a wide catalogue of films, operas, ballets, pop concerts, short films, documentaries and educational content in high definition. With more than 28,000 screenings, 46,000 hours of satellite transmission and a nation-wide network, Microcinema is a consolidated company that has worked since 2007 with millions of spectators. For more information, visit www.Microcinema.eu.

About Qube Cinema, Inc.

Qube Cinema, based in Burbank, CA, is an international manufacturer of digital cinema technology and mastering solutions. A subsidiary of Real Image Media Technologies, Qube Cinema draws on decades of experience in cinema and holds a leadership position in the transition from analog to digital technology. The company is committed to creating a seamless digital cinema environment for exhibitors, filmmakers and postproduction companies with DCI-compliant products that are flexible, reliable and highly cost effective. Qube Cinema’s product lines include the Qube XP series of servers, QubeMaster software solutions, Qube Keysmith KDM generation and the Qube Xi 4K Integrated Media Block. For more information, visit Qube Cinema at www.qubecinema.com.

Oblique FX delivered 382 shots for the second season of Being Human, including set extensions, greenscreen work, digital morphs and enhancements, as well as being in charge of on-set VFX supervision. The facility was nominated last year in the same category for season one of Being Human and won a Gemini Award (the precursor to the Canadian Screen Awards) in 2010 for VFX on the television mini-series Ben Hur. This year’s Canadian Screen Award nomination honors the facility’s VFX work for an episode of Being Human called “The Ties That Blind”.

Vampires, Werewolves and Ghosts

Starting from scratch, Oblique FX built the elements that became the supernatural and magical characters in Being Human, which include a ghost, a werewolf and a vampire living together in a house in Boston. “The Ties That Blind” is replete with paranormal phenomena that required extensive VFX work. A poltergeist splits a staircase in half as Sally, the ghost, runs frantically backwards to escape the unseen force. Later, the ghost of her ex-boyfriend is shredded and sent into limbo by the Reaper, a swirling amorphous character. Possibly the most remarkable scenes involve werewolves and culminate in a night fight in the woods between a pair of vampires and four werewolves, who have just transformed from their human shape.

Rendering Realistic Transformations

“The werewolves have always been our most interesting challenge on this project,” said Pierre-Simon Lebrun-Chaput, VFX supervisor for Oblique FX. “Each one is a complex character with emotions and individual traits that we need to convey convincingly. They get a lot of screen time and it’s crucial that we integrate them believably into their environments.”

The terrifying fight in the woods is the most VFX-heavy sequence of Being Human to date. There are 15 werewolf shots during the night hunt, accounting for over one full minute of CG. Every element was hand-built in Softimage, lit and rendered with Arnold and composited in Nuke. Extensive rotoscopy was used to place the werewolves seamlessly among the leaves and trees of the forest.

CG assets of the werewolves were built from designs that were sketched early in the first season of Being Human. Oblique FX then used these elements to depict the human transformation into the very different anatomy of the werewolves. In the case of a facial morph of werewolf twins, the camera was close up, with a large part of the transformation happening on screen. This sequence involved a painstaking 3D recreation of the actors’ faces and bodies. The 3D recreations were match-moved and then distorted to depict gradually sharpening teeth and extending bones, and subsequently, used to add growing CG hair and to animate changes in the color and texture of the skin. Oblique started with shots of the actors wearing prosthetic teeth, then animated the plates. Hair was added to the face next. A prosthetic chest mimicked the expansion of the torso. Once the werewolf transformations were complete the creatures were animated to continue the action sequence.

“It was easy to fall into in-between shapes that looked weird, like a raccoon or a rat,” Lebrun-Chaput explained. “We overcame this by redrawing the details of the face to make it more wolf-like and realistic. Because we were playing with the details of a human face, even a small error would have been immediately obvious to the audience.”

“We love doing TV work,” said Benoît Brière, president of Oblique FX. “With Being Human, we’re involved in the creative process from the beginning, creating concepts and storyboards. We have latitude to present ideas and design assets to the director. With Being Human all our artists get to pitch in.”

Produced by Muse Entertainment Enterprises and shown on Space (Bell Media) in Canada and SyFy in the U.S., Being Human stars Sam Witwer, Meaghan Rath and Sam Huntington as a trio of supernatural beings who live together in Boston. Oblique FX continues to deliver VFX for the series, now in its third season.

About Oblique FX

Founded in 2008 by Benoît Brière and powered by an open, collaborative culture, Oblique FX creates high-end digital visual effects for international clients in feature film, television and advertising. Services include on-set supervision, high-end 3D animation and compositing, resulting in photoreal visual effects that integrate seamlessly with live action plates and environments. Recent film projects include Louis Cyr (in production), Ésimésac and the IMAX documentaries Rocky Mountain Express, Rescue (3D) and The Ultimate Wave (3D). Their work in TV includes Bomb Girls (Seasons 1 and 2), Ben Hur and Being Human (Seasons 1-3). Oblique FX won the 2010 Gemini Award for best visual effects for Ben Hur and has been nominated for two Canadian Screen Awards for Being Human (seasons 1 and 2). Oblique FX is located in downtown Montreal. For more information, visit www.ObliqueFX.com.

Pour la deuxième saison de Being Human, Oblique FX a fourni 382 plans dont des extensions de décors, du travail d’écran vert, du morphing et des améliorations numériques, en plus d’assurer la supervision des effets visuels pendant le tournage. L’an dernier, le studio montréalais a été nominé dans la même catégorie pour la première saison de Being Human et a remporté un prix Gemini (précurseur des prix Écrans canadiens) pour ses effets visuels sur la mini-série Ben Hur en 2010. Cette année, la nomination pour le prix Écrans canadiens souligne le travail du studio pour l’épisode de Being Human intitulé “The Ties That Blind”.

Vampires, loups-garous et fantômes

Partant de rien, Oblique FX a créé les éléments qui sont devenus les personnages surnaturels et magiques de Being Human: un fantôme, un loup-garou et un vampire qui partagent une maison à Boston. “The Ties That Blind” regorge de phénomènes paranormaux dont la réalisation a exigé un vaste éventail d’effets visuels. C’est ainsi qu’un poltergeist a pu fendre un escalier en deux tandis que Sally, le fantôme, court désespérément à reculons afin d’échapper à cette force invisible. Plus tard, le fantôme de l’ex-copain de Sally est broyé et envoyé dans les limbes par la Faucheuse, un personnage tourbillonnant et amorphe. Parmi les scènes les plus remarquables, notons celles comportant des loups-garous ainsi qu’un combat nocturne en pleine forêt entre quatre d’entre eux, fraîchement métamorphosés, et deux vampires.

Obtenir des métamorphoses réalistes

« Au cours de ce projet, les loups-garous ont toujours représenté le défi le plus intéressant. », dit Pierre-Simon Lebrun-Chaput, superviseur des effets visuels pour Oblique FX. « Chaque créature est un personnage complexe avec des émotions et des caractéristiques individuels qu’il nous faut évoquer de manière convaincante. Ils sont très présents à l’écran, il est donc très important de les intégrer à leur environnement de façon crédible. »

Jusqu’à présent, le combat terrifiant en pleine forêt constitue la séquence la plus chargée d’effets visuels de Being Human. La scène de chasse nocturne comprend 15 plans des loups-garous, soit plus d’une minute complète de CG. Chaque élément a été conçu manuellement avec Softimage, éclairé et rendu avec Arnold, puis composé à l’aide de Nuke. Une quantité considérable de rotoscopie a ensuite servi à intégrer les loups-garous parfaitement à l’environnement feuillu de la forêt.

Les éléments CG pour les loups-garous ont été conçus à partir de modèles esquissés au début de la première saison de Being Human. Oblique FX s’est ensuite servi de ces éléments comme base pour la transformation radicale des personnages en loups-garous. Dans un cas, la grande partie d’une métamorphose du visage de jumeaux loups-garous est visible à l’écran en gros plan. Cette scène a exigé une reconstitution minutieuse en 3D du visage et du corps des acteurs. Ainsi, à l’aide de match moving et d’une déformation calculée, ces reconstitutions 3D ont été manipulées afin de montrer progressivement l’apparition de dents acérées et la prolongation des membres. Par la suite, on y a ajouté la croissance des poils en CG ainsi que des changements dans la couleur et la texture de la peau. Oblique a commencé avec des plans des acteurs portant des dents prothétiques, puis a ajouté le poil aux visages et une prothèse a servi à imiter l’expansion de la cage thoracique. Une fois la transformation complétée, les créatures ont été animées afin de poursuivre l’action de la scène.

« Il était facile de tomber entre deux formes étranges, comme celle d’un raton laveur ou d’un rat. », explique Lebrun-Chaput. « Dans ce cas, notre solution consistait à redessiner les détails du visage pour leur rendre un aspect plus canin et réaliste. Étant donné que nous manipulions des traits humains, la moindre erreur aurait été immédiatement perceptible par l’auditoire. »

« Nous aimons travailler pour la télévision. », déclare Benoît Brière, président d’Oblique FX. « Avec Being Human, nous participons au processus créatif dès le début en créant des concepts et des storyboards. Nous sommes libres de créer et de présenter des idées au réalisateur. Avec Being Human, tous nos artistes peuvent y mettre de leur génie. »

Produite par Muse Entertainment Enterprises, et diffusée au Canada sur la chaîne Space (Bell Media) et aux États-Unis sur SyFy, Being Human met en vedette Sam Witwer, Meaghan Rath et Sam Huntington dans le rôle de trois êtres surnaturels qui vivent ensemble à Boston. Oblique FX continue de réaliser des effets visuels pour la série qui en est à sa troisième saison.

À propos d’Oblique FX

Fondée en 2008 par Benoît Brière et basée sur une culture ouverte et collaborative, Oblique FX crée des effets visuels numériques de haut calibre pour des clients internationaux de l’industrie cinématographique, télévisuelle et commerciale. Ses services comprennent la supervision de plateau, l’animation 3D et la composition d’image haut-de-gamme pour des effets visuels photoréalistes qui s’intègrent parfaitement aux scènes et aux environnements animés. Certains projets cinématographiques récents comprennent Louis Cyr (en production), Ésimésac, ainsi que les documentaires en IMAX Rocky Mountain Express, Rescue (3D) et The Ultimate Wave (3D). Leur travail en télévision comprend Bomb Girls (Saisons 1 et 2), Ben Hur et Being Human (Saisons 1 à 3). Oblique FX a remporté le prix Gemini en 2010 pour les meilleurs effets visuels dans la série Ben Hur et a été nominé pour deux prix Écrans canadiens pour Being Human (saisons 1 et 2). Les studios d’Oblique FX se situent au centre-ville de Montréal. Pour plus d’informations, visitez www.ObliqueFX.com.

Nothernstars Publisher, Ralph Lucas, asked Eric Clément of Montréal’s Modus FX and VFX supervisor for Sarila about how the film was made…

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“Everything starts and ends with people,” said Brinton. “Sure, you can talk about a project over the phone, but clients only really get to know you, and the skills you bring to their film, when they meet you and see you in action. The dynamic changes from a business relationship into a working partnership. That’s why it’s important for me to interact directly with our clients in Hollywood.”

The most recent example of this came with Brinton’s work on the set of Parker, starring Jason Statham and Jennifer Lopez. Until Brinton was able to visit the director, producers and editor in Los Angeles, he was just a voice on the other end of the line and Modus FX was a facility in a faraway place.

“I went down to LA and met with the director, Taylor Hackford, the postproduction supervisor, Lisa Dennis and their team. I introduced myself, told them about Modus, and explained how we’d approach the work. Once you’ve met, and are comfortable with each other, you can do anything.”

“Wayne’s style of dealing with people captures the way Modus approaches work with our clients,” said Yanick Wilisky, co-founder and VP production at Modus FX. “They have to have faith, not only in the quality of work coming out of the studio, but in the people who work here. With Wayne, they quickly gain confidence that he will support them to do their job on set and that Modus will deliver the work the way they want it.”

Being On Set Means Saving Time

On set, Brinton can see live what’s being shot and what the CG artists will be working with. Since he knows the visual effects tasks exactly, he can anticipate challenges before they happen. Sometimes it might take five extra minutes to reshoot something, but it can save days of CG work. This happened with their work on Parker, where Modus worked with the second unit.

“A few of the shots were bigger than they had anticipated,” Brinton explained. “I went to LA to set up shots with the director. We helped Taylor with camera set ups, angles and framing for the shots. I was only there for one day, but it made all the difference when we got to post.”

One gruesome scene in Parker shows a hand being stabbed. The original plan called for doing the whole shot with a prosthetic hand, but Brinton could see it wasn’t going to end up looking realistic enough without a real hand.

“I explained that they could shoot the actor’s hand instead and then use the prosthesis only to show the knife being pulled out,” Brinton said. “Then we could take the blade, the wound and blood spurting out, and comp it onto the real hand. I could only do this by being on set. I’m guessing we saved three days of compositing on this shot alone.”

The Path to VFX Supervisor

Brinton started out as a junior compositor in Toronto in 1997, before beginning an eight year stint at Hybride in 1999. There he worked on such high-profile projects as Art of War, the Spy Kids franchise and 300. His supervising career began when he moved to the Montreal office of Mr. X where he provided on-set supervision for Beastly and was VFX supervisor for the facility’s work on Source Code, which was nominated for a VES award. Then, in 2011, he joined Modus FX, where his first job was as VFX supervisor on Mirror Mirror.

“Modus was called in to help out on Mirror Mirror and we had only eight weeks to do almost 200 shots,” Brinton said. “The most rewarding part of that job was turning out such a large number of shots in such a short time. We accomplished it all without any stress on the company. Everyone worked extra hours, but we came out of it smiling.”

In addition to Parker and Mirror Mirror, Brinton served as VFX supervisor for Modus FX on The Avengers and several other Hollywood projects. When on set, Brinton is directly available to the director, watching the video feeds and ensuring that the visual effects shots are optimized for postproduction.

“Generally, we let directors go where they need to go with the story. They’re more comfortable and the process is more organic that way. It’s my responsibility to make sure we get shots that we can work with and I use my judgment about when to step in. This is where the trust and the personal relationship come in. We’re there to support the creative process.”

“If we present a new idea to a client, it’s my job as VFX supervisor to show them how we can do it and why it will work,” Brinton said.

“We brought Wayne on board, not only for his technical gifts as a compositor, but for the way he deals with people,” said Marc Bourbonnais, co-founder and president of Modus FX. “He’s able to bring his team with him to produce high-quality work and is supportive of our clients throughout the project.”

“As a facility Modus is moving quickly toward being in control of the visual effects for entire projects, which is the way I like to work,” Brinton said. “As we take on more and more of the visual effects supervision on projects, the studios and production companies are seeing how well it works, and how much more efficiently we can deliver their shots. We enjoy this level of interaction with the client, and the projects benefit greatly from having a better pipeline. Ultimately everyone wins that way.”

Directed by Taylor Hackford, Parker stars Jason Statham, Jennifer Lopez and Nick Nolte. The film saw theatrical release on Jan. 25, 2013.

About Modus FX

Since launching in 2007, Modus FX has become an industry leader in high-end feature film visual effects, boasting an international clientele and a talented team of handpicked artists from around the globe. Led by co-founders Marc Bourbonnais and Yanick Wilisky, Modus has developed a unique approach to creating digital effects, combining a cutting-edge production pipeline with personalized ongoing project coordination. The studio collaborates with each director through the artistic process, from the editorial script and on-set supervision to final delivery. Based just outside Montreal, Modus offers a full scope of services in its modern 12,000-square-foot studio. For more information, visit www.modusfx.com.