There was some post work, but it tallied up to just over 415 VFX shots – that’s about the average for a romantic comedy these days. “In 1994’s Independence Day, around 90 per cent of the shots were miniatures. “Resurgence was just a totally different way of working,” begins Weigert, reflecting on the post-production experience. Emmerich turned once again to UT to manage and deliver the raft of high-end visuals, which proved an altogether different challenge than those featured back in 1994. With ships whose size have more in common with entire planets than mere cities, a heavy visual effects workload was required.
However, on the cusp of a full recovery, the human race once again faces another, larger threat from the alien menace. In the narrative, humankind has superpowered its technology using the alien machinery has lain destroyed around the globe. Independence Day:Resurgence picks up two decades after the events of the 1994 blockbuster that commenced the franchise. Marc Weigert (right) with Volker Engel A visual effects resurgence Given the studio’s past experience, few were better placed to handle the director’s alien invasion sequel Independence Day: Resurgence – not least because co-founders Marc Weigert and Volker Engel also worked on the first entry to the Independence Day series, the latter winning an Academy Award for his efforts in the VFX department. The studio has an established history with Emmerich, having worked on previous disasterpieces The Day After Tomorrow (2004), 2012 (2008), and White House Down (2013). The responsibility for creating such awe-inspiring yet devastatingly apocalyptic spectacle often lies at the feet of visual effects house Uncharted Territory. The German director has long established himself as a destroyer of worlds, tearing the marble of landmarks and the topography of landscapes in stunning displays of visual effects mastery.
Roland Emmerich films are a genre unto themselves.
0 kommentar(er)
