It paid off handsomely on this project, which was massive in scale and posed numerous, unique challenges.”
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During the pandemic, we learned how to efficiently work remotely while maintaining camaraderie and collaboration. “It allows us to tap a large talent pool and diverse skill set. “There are huge benefits in our remote pipeline,” explained compositing supervisor Francesco Cadoni. Work on the sequence was shared among artists across RSP’s main studio in Adelaide and satellite offices in Sydney and Brisbane. It’s meant to make audiences wonder, ‘How could something so stunning actually exist?’” It’s grounded in reality while having a fabulous, surreal quality. “We drew on a wide range of references from the Amazon rainforest and other jungles to create colorful plant life that adds richness and variety to the frame. “It’s a very lush, green, tropical environment,” said CG supervisor Ryan Kirby. RSP augmented the practical set with an expansive digital oasis, filling it with plants and trees as well as magical ‘flower Gods,’ composed of effects-driven flowers. The sequence climaxes with a confrontation between Gorr and the menacing Rapu (Jonathan Brugh), whom Gorr accuses of abandoning his people. They also enhanced Gorr’s practical make-up to create his disturbingly emaciated look. Artists augmented the production imagery (shot on the set in Sydney) with environment extensions and dust and sand simulations. It begins with Gorr and his daughter wandering in a desert.
The studio’s most complex work involved the film’s 150-shot opening sequence, setting the tone for the narrative. It helped us serve Taika’s vision and, having a big picture view, allowed me to lead the RSP team in an informed fashion as we navigated several very complex sequences.” “Working so closely with the filmmakers was rewarding and led to better end results. “Visual effects is all about collaboration,” noted Bethell. In addition, Bethell spent more than 80 days on the set - at Fox Studios, Sydney, and on location - working with the production team in capturing background plates and live-action elements. RSP was involved in the project from the beginning, assisting in a range of tests, developing concepts, and devising technical approaches for its many larger-than-life visuals. It’s a testament to our complete trust in their team.”
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RSP’s shots literally start and end the movie - with plenty in between. “This film is a wildly unprecedented journey across the galaxy with an insane amount of VFX. “For years, I’ve enjoyed creating previously unimaginable visuals with Rising Sun Pictures, but on Thor: Love and Thunder, they truly raised the bar,” said Morrison. Read AWN’s Jake Morrison interview: Hammering Out the VFX in ‘Thor: Love and Thunder’ Under the direction of production VFX supervisor Jake Morrison and VFX producer Lisa Marra, RSP’s team of more than 150 artists worked across three locations under the leadership of VFX supervisor Dan Bethell (who also served as Main Unit VFX Supervisor) and Senior VFX producer Ian Cope. The fourth Thor movie finds the hammer-wielding hero (Chris Hemsworth), aided by his former girlfriend, Jane Foster (Natalie Portman), facing his greatest challenge yet: the supervillain Gorr the God Butcher (Christian Bale). Key shots included the film’s impressive opening and closing scenes. Rising Sun Pictures (RSP) delivered more than 300 visual effects shots for Taika Waititi and Marvel Studio’s latest MCU action-adventure, Thor: Love and Thunder.
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