Although some of these concepts looked very appealing and charming, everyone was concerned that this type of style wouldn’t fit with the live-action world. Eventually a muscular look was chosen and facial adjustments stripped back so that the Genie’s face is an exact 1:1 match of Smith’s face in the final version, to maintain the fidelity and detail of his performance.ĭaniele Bigi // Our journey began as usual with many concepts, initially exploring stylized versions of Genie that resembled vaguely the original version. Steve Aplin // Built by our London team, Genie’s design went through multiple iterations it was decided early in the production that we would base Genies look closely on Will Smith but originally the character was plumper with exaggerated features. Postvis for the genie sequences and a few of the sequences featuring Abu, were taken on by a small team of 2d animators overseen by Chas who blocked in rough ideas for those shots to help drive creative discussions and give editorial material to begin piecing scenes together, usually on 2’s or 4’s.Ĭan you explain in detail about the creation of the Genie? Postviz for this sequence involved rough camera solves and rigs in maya to allow animators to drive the resulting plate elements and their local camera motion through broader sweeping paths, pieced together with rough sketches of the 3d environments to give a greater editorial understanding of how the sequence would play out (a similar approach was taken for the Carpet Chase over Agrabah). It was especially important to focus in on finding the right feel for the Whole New World carpet flight as the motion would be end up being used to drive the base for the motion control rig the actors would be performing and consequently locking us into the gross motion and camera choreography.
Steve Aplin // Key sequences were extensively previs-ed early on by Proof and ILM. Lastly, our Singapore team contributed several sequences and many one-off shots as well.Ĭan you tell us more about the previs and postvis process? Vancouver also developed the character assets for Jago and Jafar Genie and worked on all of those shots. The city is about 1.5 kilometers wide and additionally the team created a section of desert around it that extends for 5 kilometers.
#ALADDIN MAYA CINEMA PLUS#
Plus Vancouver team also created the largest environment in the movie: the entire city of Agrabah. Meanwhile, ILM’s Vancouver team developed the vast palace of the Sultan including the exterior environment and several interior set extensions. We also converted Agrabah city to be able to manage it and render it using Clarisse. Not only did the cave set contain hundreds of millions of instances to create the massive treasure trove but was also modeled to be dynamically destroyed by the FX team. Many variations of Genie were created in the London office and the team also worked on Raja, the tiger, the massive set used in the sequence “Friend Like Me” and the environment used for the sequence “Cave of Wonder”. We developed Genie from modelling to look dev up to the complex tail simulation. How did you split the work amongst you and at the ILM offices?ĭaniele Bigi // ILM’s London studio was what we call the “Hub” for the show. Of particular note was the broadway-esque theatrical lighting exploration which took place in the Friend Like Me sequence, coming quite late into the post production schedule but really ending up taking it to a whole new level visually. This collaboration worked well, giving Chas the space to come up with ideas in post which really injected extra visual flair and life into the sequences. It was clear that Guy held a lot of trust in Chas’ guidance helping to craft the look and style of the VFX in the film, and gave him the freedom to explore creative ideas with us and his editor, James Herbert. Steve Aplin // Guy and Chas have worked together on a few projects previous to ALADDIN, so definitely had a shorthand when it came to their communication. How was the collaboration with director Guy Ritchie and VFX Supervisor Chas Jarrett?
He worked on films like STAR WARS: EPISODE III – REVENGE OF THE SITH, TRANSFORMERS: REVENGE OF THE FALLEN, CAPTAIN AMERICA : CIVIL WAR and A QUIET PLACE. Steve Aplin started working at ILM in 1997 and then worked at DNEG in 2009 before returning to ILM in 2016.
He worked on many films like PROMETHEUS, GUARDIANS OF THE GALAXY, DOCTOR STRANGE and READY PLAYER ONE. Daniele Bigi began his career in the visual effects in the early 2000s and worked in many studios such as Framestore and MPC before joining ILM in 2015.
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