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Matte Painting & Rotoscoping

Rotoscoped articulated matte painted composite.

Each frame was cut out separately which was a very time consuming process.

Before

Blue Screen

Stop Motion Animation

Mixture of

¼ scale stop motion clay models

Full scale Hand puppets.

After

The animation was done in front of a blue screen to make it easier to key out the background in post.

Final Scene

Combination of miniature set, Blue screen, & Matte painting .

Matte-Painting continued

Blue screen in studio

The scaled model of central park was centered around the marshmallow man suit, It was 1:18th which wasn’t a normal ratio and this made it difficult to find model cars to populate the streets. One of the team found a police car in a Toys R Us which was the right scale, so they rang around all the Toys R Us stores in California and bought 300, then they chopped them up and turned some into fire engines and ambulances. They turned some into radio controlled cars, drove one into a fire hydrant, made a small pump device to shoot a fine burst of sand up to simulate water, as you can see bottom left.

Miniature set with performer

Matte Painted Building

All composited together

Matte artist Matthew Yuricich painted an 8 foot wide photo-realistic painting on glass. This needed to be very detailed as it was a key pullback shot.

The result looked too static so he scratched off the paint in the centre to show the transparent glass, then scaled down some footage of people moving as a rear process plate, and put it behind the painting to give it more movement.

This scratching technique is also used to shine a lamp behind and create lights in the buildings.

Who ya gonna call?... Richard Edlund!

Pin-blocking

Laser Streams

Hardware & Software used!

  • VFX supervisor

  • Star Wars, Raiders Of the Lost Ark & Poltergeist

  • In 1983 he assembled a team to work on Ghostbusters and thus started the company Boss Films.

  • The effects in Ghostbusters ended up costing $5.6 million dollars.

  • Ghostbusters was Oscar nominated for Best Visual Effects at the 57th Academy Awards ceremony for Best visual Effects.

Silicon Graphics (SGI) manufactured high performance computer hardware incorporating framebuffer technologies.

The product used to render the effects in Ghostbusters was the IRIS system.

Favored choice of CGI film companies in the 1980's. It had it's own built in geometry engine to composite effects.

Mixture of scaled down live explosions & 5 layers of drawn animation.

The live pyro was filmed on a stage, then re-photographed with a technique called pin-blocking, they then miniaturized the explosions and overlaid them onto the guns nozzles.

This particular shot incorporates most of the techniques, a Matte painting in the distant background, a Composite of Stay Puft in front, rotoscoping around the building and actors to cut them out, filmed pyrotechnics scaled down and overlaid on the proton gun barrels and five levels of hand drawn classical animation, frame by frame screened over that from an optical printer to make up the laser streams.

VFX Techniques from Ghostbusters 1984 (Rooftop Scene)

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