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Method Studios Creates VFX for X-Men: First Class

Method Studios (London) completed 23 shots on X-Men: First Class including compositing shots during two sequences -- Havoc's montage training and the Club sequence where Erik and Charles meet Angel for the first time.

Press Release from Method Studios

Method Studios (London) completed 23 shots on X-Men: First Class including compositing shots during two sequences -- Havoc's montage training and the Club sequence where Erik and Charles meet Angel for the first time. The work was supervised by 2D supervisor Sean Danischevsky.

Additionally, Method Studios' visual effects supervisor Stephane Ceretti, was loaned out to the Fox production team to work with John Dykstra on X-Men: First Class during the post portion of the production. Based in London, Ceretti worked with Dykstra and the LA visual effects production team for five months. States Ceretti, "It was great to be working with such a legend as John Dykstra. He's extremely focused and professional, yet retains a great sense of fun in the midst of all the madness. As I was in London, I was in charge of the 7 smaller vendors on the show that were based in the UK and Europe, who completed around 300 shots. I supervised their work to get them to a certain point before their shots could be shown to John for final feedback and ultimately to Matthew Vaughn and the studio. I was also in charge of tech-checking shots from most of the vendors. We used cineSync to be in constant connection and communication with John to discuss submissions, establish turnovers and work descriptions, in order to ensure that we were always on the same page regarding these shots.

Ceretti continues, "The process of working with more than one supervisor went very smoothly. John was the driving force and Rob Hodgson and I  were there mainly to ensure that John could focus on the main vendors and the big shots and his interactions with editorial, Matthew and the studio. Rob did a fantastic job jumping onto the fast moving train of the LA shoot and I was there to help make sure the VFX department was open 24 hours a day and no time was wasted with the time difference and feedback to all our European based vendors. We were all pushing towards the same goal -- finishing the movie in time and making sure we would push the shots until the very last minute."

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