Luma Makes a ‘Covenant’ with VFX
Luma Pictures completed more than 75 visual effects shots for THE COVENANT, the new supernatural thriller from ScreenGems and Lakeshore Ent., and director Renny Harlin (opening Sept. 8, 2006). Included in the package are the film’s eerie opening sequence in which four teenage boys leap off a towering cliff, a mystical “rite of passage” sequence, as well as its climactic battle sequence. The studio’s work encompassed a broad range of visual effects techniques from CG characters and environments to groundbreaking particle effects illustrating strange otherworldly phenomena.
THE COVENANT marks one of the larger, more complex and challenging projects for Luma since UNDERWORLD: EVOLUTION, and it required its team of artists to strive for new levels of sophistication. “I am most proud of the dynamic supernatural effects that we created for this film,” said Luma Pictures senior vfx supervisor Payam Shohadai. “Once again, our staff stepped up to a big challenge — designing and executing high concept effects from scratch. Many will leave audiences wondering, ‘How did they do that?’”
Luma’s contribution to the film is on display from THE COVENANT’s opening scene. The film’s protagonists are four teenage students from a private New England academy endowed, via a 16th century “covenant,” with supernatural powers. During the scene, the boys’ powers are revealed when they proceed to jump off a 400-foot cliff in a sequence of shots comprised of mostly CG environments. Each boy’s power manifests itself in a different way, but none is more impressive than Caleb, the hero, who leaps last.
For Caleb’s leap, Luma’s role was to bridge two live action elements — the beginning of the actor’s leap at the top of the cliff, and its end point where he joins the rest of his crew on the ground — with a lengthy and wholly fabricated shot of him tumbling through the air. “In addition to the CG double of the actor, this sequence required us to create a digital set for the top of the cliff as well as a CG environment encompassing the entire face of the cliff, the sky, ocean, beachfront and opposing cliff with a lighthouse,” explained Luma Pictures texture and model supervisor Chris Sage.
The CG double’s fall is tracked by a sweeping virtual camera move that ties into a practical camera move as the artificial shot transitions back to live action. “We created a small matte painting to serve as a digital handshake between the 3D set and the live-action plate,” noted Sage. “Animators also matched the action of the CG double to the actor at the beginning of his landing to create a seamless transition.” 3D fog and other environmental effects were added to the shot to match the mood and depth of the practical scenes.
The unique way that the boys’ supernatural powers are displayed is best represented by the film’s “Ascension” sequence. In that scene, which occurs near the end of the film, magical powers are transferred to Caleb from the heavens. The transfer of powers is represented by what appear to be waves of energy particles that swirl through the scene and, in parts, seem to represent a kind of life form of their own.
As Harlin only had only a general concept for how various powers would manifest themselves (both those featured in the Ascension sequence and elsewhere in the film), Luma was given wide latitude in designing their look. “Abstract ideas are inherently difficult to sketch or even describe,” observed Steven Swanson, senior vfx producer. “We went through a great deal of trial and error to arrive at a tangible starting point. Ultimately, we created 25 distinct types of effects that we categorized with quirky terms, such as ‘wispies,’ ‘floaties.’ ‘waterbolts’ and ‘super powerballs’.”
THE COVENANT marks one of the larger, more complex and challenging projects for Luma since UNDERWORLD: EVOLUTION, and it required its team of artists to strive for new levels of sophistication. “I am most proud of the dynamic supernatural effects that we created for this film,” said Luma Pictures senior vfx supervisor Payam Shohadai. “Once again, our staff stepped up to a big challenge — designing and executing high concept effects from scratch. Many will leave audiences wondering, ‘How did they do that?’”
Luma’s contribution to the film is on display from THE COVENANT’s opening scene. The film’s protagonists are four teenage students from a private New England academy endowed, via a 16th century “covenant,” with supernatural powers. During the scene, the boys’ powers are revealed when they proceed to jump off a 400-foot cliff in a sequence of shots comprised of mostly CG environments. Each boy’s power manifests itself in a different way, but none is more impressive than Caleb, the hero, who leaps last.
For Caleb’s leap, Luma’s role was to bridge two live action elements — the beginning of the actor’s leap at the top of the cliff, and its end point where he joins the rest of his crew on the ground — with a lengthy and wholly fabricated shot of him tumbling through the air. “In addition to the CG double of the actor, this sequence required us to create a digital set for the top of the cliff as well as a CG environment encompassing the entire face of the cliff, the sky, ocean, beachfront and opposing cliff with a lighthouse,” explained Luma Pictures texture and model supervisor Chris Sage.
The CG double’s fall is tracked by a sweeping virtual camera move that ties into a practical camera move as the artificial shot transitions back to live action. “We created a small matte painting to serve as a digital handshake between the 3D set and the live-action plate,” noted Sage. “Animators also matched the action of the CG double to the actor at the beginning of his landing to create a seamless transition.” 3D fog and other environmental effects were added to the shot to match the mood and depth of the practical scenes.
The unique way that the boys’ supernatural powers are displayed is best represented by the film’s “Ascension” sequence. In that scene, which occurs near the end of the film, magical powers are transferred to Caleb from the heavens. The transfer of powers is represented by what appear to be waves of energy particles that swirl through the scene and, in parts, seem to represent a kind of life form of their own.
As Harlin only had only a general concept for how various powers would manifest themselves (both those featured in the Ascension sequence and elsewhere in the film), Luma was given wide latitude in designing their look. “Abstract ideas are inherently difficult to sketch or even describe,” observed Steven Swanson, senior vfx producer. “We went through a great deal of trial and error to arrive at a tangible starting point. Ultimately, we created 25 distinct types of effects that we categorized with quirky terms, such as ‘wispies,’ ‘floaties.’ ‘waterbolts’ and ‘super powerballs’.”
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