Scandal + How to Get Away with Murder - Cross-Over Episodes|短视频|广告营销案例【ADGuider广告指南】

丑闻 + 如何逃脱谋杀-交叉情节

案例简介：视觉特效军团为 “丑闻” 和 “如何逃脱谋杀” 的交叉剧集创造视觉效果在洛杉矶拍摄，在华盛顿和费城拍摄，丑闻 & HTGAWM 的故事在虚拟环境中展开与真人镜头无缝融合，无视观众的眼睛加利福尼亚州洛杉矶 -- 视觉特效军团 (www.vfxlegion.com) 最近为备受期待的丑闻交叉事件以及如何逃脱谋杀创造了视觉效果。这部政治惊悚片和法律剧的故事情节在连续两个小时的活动中交织在一起，该活动于 3月1日在美国广播公司首播，并继续在 Hulu 上被评为流媒体热门。搭配的场景开始于如何逃脱谋杀的高级辩护律师安娜丽丝 · 基廷 (维奥拉 · 戴维斯), 在标题恰当的一集《让我自我介绍》中出现在丑闻的地盘上。基廷前往华盛顿与政治顾问奥利维亚 · 波普 (克里 · 华盛顿) 面对面让她帮助快速追踪一起集体诉讼案件到美国最高法院。故事情节随着波普在《如何逃脱谋杀》的交叉插曲《莱希对宾夕法尼亚联邦》中的客串而上演。' 丑闻和 HTGAWM 分别在洛杉矶拍摄，在 DC 和费城拍摄，然而演员永远不需要离开好莱坞，这要归功于他们的创造力、技术智慧, 和 VFX 军团团队的经验。这家总部位于洛杉矶的公司创造了逼真的 CG 环境和其他效果的混合，使得将演员传送到各种无缝匹配真人镜头的数字环境成为可能, 无视观众的眼睛。“看不见的” 效果极大地增强了该剧的视觉景观，拍摄成本太高或不可能在现场拍摄。 Legion 已经为这两个节目处理了近三年的所有视觉效果，并计划在即将到来的 HTGAWM 季节工作。多年来，Shondaland Productions 已经责成该公司为近 100 集创作高质量的 CGI，每一集都与一个节目的整体外观相匹配。然而，交叉剧集需要视觉效果，融合了两个使用不同工具的系列，每个系列都有自己的外观，呈现了一系列更复杂的挑战。首先，丑闻是用 ARRI Alexa 相机拍摄的，以及如何在不同颜色的温度和不同的照明条件下逃脱索尼 F55 的谋杀。DP 偏好和可用的设备需要 VFX 军团拍摄相同的环境两次，一次用绿屏拍摄丑闻，然后再次用蓝屏拍摄 HTGAWM。它的团队解决了所有这些变量，找到了创造性的解决方案来弥合外观，并匹配这两个系列的纹理和色调。最高法院大楼的复制是故事情节的核心。从零开始，以数字方式建造其外部立面，以及法庭和圆形大厅的内部，是为这些剧集创作的最复杂的视觉效果节目。这个过程是在试制期间开始的，VFX 主管马修 · 林恩与客户密切合作，充分了解他们的愿景。他与军团的制作主管内特 · 斯莫利、制作经理安德鲁 · 特纳以及协调员马特 · 诺伦和莱克西 · 斯隆合作，简化了工作流程，并制定了一个与节目预算相一致的计划, 时间表和资源。林恩花了几周时间进行研发、预可视化和模型制作。在联合 VFX 会议期间，军团的端到端方法被提交给了两场演出的 staffs，并最终确定了一个计划。一套粗糙的 3D 模型是从使用 Agisoft Photoscan 和摄影测量技术缝合在一起的数百张参考照片中构建的。 HDRI 全景和 360 ° 多次曝光的照片被用来匹配 3D 照明和真人镜头。CG 建模和纹理艺术家，特雷弗更难，然后添加了精细的细节，并创建了完成的 3D 模型。 CG 主管，隆美尔 · 卡尔德隆，领导了从零开始创建华盛顿最高法院大楼的建模、纹理、跟踪、布局和照明艺术家团队。卡尔德隆说: “大楼外部的 CG 模型是一只野兽，调度本身就是一项巨大的工作。”。“细致的规划、资源管理、与客户的持续沟通和现场监督对于结合大量镜头而不会导致视觉特效军团数字管道的瓶颈至关重要。" Ken Bishop，VFX 军团的首席模特，在处理主角 Pope 和 Keating 在洛杉矶市政厅的具体步骤上拍摄的镜头时，遇到了一些有趣的问题。由于最高法院的楼梯是大理石，毕晓普在纹理上做了大量的工作，使大理石足够多孔，可以在这个关键镜头中与混凝土混合。追踪者，鲁伊 · 德尔Gado 利用摄影测量、镜头规格、相机测量和其他现场测量数据，实现了对合成相机移动的完美锁定。细节的深度使他能够与法院内部的大理石柱完全匹配。照明艺术家布莱恩 · 谢泼德在阴沉沉、光线平坦的盘子上工作，增加了对镜头感觉的兴趣，同时保持了与节目融合所需的连续性。合成主管丹 · 肖特带领他的团队完成了将实用摄影与用红移创建的渲染相结合的过程，然后使用铸造厂的 NUKE 无缝合成所有镜头。林恩说: “这些剧集需要良好的规划和一个由 25 名艺术家和支持人员组成的有才华的团队。”。“我们全力以赴，提供大量复杂、高质量的视觉特效，并在最后一刻做出改变, 同时仍然满足一个紧迫的截止日期，并从预算中获得最大价值。” 该公司创始人詹姆斯 · 大卫 · 哈丁补充道: “丑闻和如何逃脱谋杀的交叉事件展示了视觉特效军团迄今为止创造的一些最佳电视视觉效果，”。创意总监和高级视觉特效主管。“我为我们团队在这些节目中投入的所有努力以及我们取得的成果感到非常自豪。在空中观看最后的节目令人瞠目结舌。"

丑闻 + 如何逃脱谋杀-交叉情节

案例简介：VFX Legion Creates Visual Effects for Crossover Episodes of ‘Scandal’ and ‘How to Get Away with Murder’ Shot in LA and Set in D.C. and Philly, Scandal & HTGAWM’s Stories Unfold in Virtual Environments That Seamlessly Blend with Live-Action Footage, Defying the Viewer’s Eye Los Angeles, CA.— VFX Legion (www.vfxlegion.com) recently created the visual effects for the highly anticipated crossover episodes of Scandal and How to Get Away with Murder. The storylines of the political thriller and legal drama intersect in the back-to-back two-hour event, which premiered March 1st on ABC and continues to rank as a streaming favorite on Hulu. The scenario for the tie-in opens with How to Get Away with Murder's high-powered defense attorney, Annalise Keating (Viola Davis), making an appearance on Scandal's turf in the aptly titled episode, 'Allow Me to Introduce Myself.' Keating travels to D.C. for a face-to-face with political fixer Olivia Pope (Kerry Washington) to elicit her help fast-tracking a class-action case to the United States Supreme Court. The storyline plays out with the guest appearance of Pope in How to Get Away with Murder’s crossover episode, ‘Lahey vs. Commonwealth of Pennsylvania.' Scandal and HTGAWM are shot in Los Angeles and set in DC and Philadelphia, respectively, yet the cast never needs to leave Hollywood, thanks to the creativity, technical ingenuity, and experience of the team at VFX Legion. The Los Angeles-based company created a mix of photorealistic CG environments and other effects that made it possible to transport the actors into a variety of digital surroundings that seamlessly match the live-action footage, and defy the viewer’s eye. The 'invisible' effects dramatically augment the shows’ visual landscapes with shots that would be either too expensive or impossible to shoot on location. Legion has handled all of the visual effects for both shows for almost three-years, and is slated to work on the upcoming season of HTGAWM. Over the years, the Shondaland Productions have tasked the company with creating high shot counts of quality CGI for almost 100 episodes, each matching the overall look of a single show. However, the crossover episodes required visual effects that blended with two series that use different tools and each have their own look, presenting a more complex set of challenges. For one, Scandal is shot on an ARRI Alexa camera, and How to Get Away with Murder on a Sony F55, at different color temps, and under varying lighting conditions. DP preferences and available equipment required VFX Legion to shoot the same environments twice, once with greenscreens for Scandal and then again using bluescreens for HTGAWM. Its team addressed all of these variables, finding creative solutions to bridge the look and match the texture and tone of both series. The replication of the Supreme Court Building is central to the storyline. Building its exterior facade, and interiors of the courtroom and rotunda digitally, from the ground up, were the most complex visual effects shows created for the episodes. The process began during preproduction with VFX supervisor Matthew T. Lynn working closely with the client to get a full understanding of their vision. He collaborated with Legion’s head of production, Nate Smalley, production manager, Andrew Turner, and coordinators Matt Noren and Lexi Sloan, on streamlining workflow and crafting a plan that aligned with the shows’ budgets, schedules, and resources. Lynn spent several weeks on R&D, pre-visualization, and mockups. Legion's end-to-end approach was presented to the staffs of both shows during combined VFX meetings, and a plan was finalized. A rough 3D model of the set was contructed from hundreds of reference photographs stitched together using Agisoft Photoscan, and a technique called ‘photogrammetry.' HDRI panoramas and 360° multiple exposure photographs of the set were used to match the 3D lighting with the live-action footage. CG modeling and texturing artist, Trevor Harder, then added the fine details and created the finished 3D model. CG supervisor, Rommél S. Calderon, headed up the team of modeling, texturing, tracking, layout, and lighting artists that created D.C.'s Supreme Court Building from scratch. “The CG model of the exterior of the building was a beast and scheduling was a huge job in itself,” says Calderon. “Meticulous planning, resource management, constant communication with clients and spot-on supervision were crucial to combining the large volume of shots without causing a bottleneck in VFX Legion’s digital pipeline.” Ken Bishop, VFX Legion’s lead modeler, ran into some interesting issues while working with footage of the lead characters, Pope and Keating filmed on the concrete steps of LA’s City Hall. Since the Supreme Court’s staircase is marble, Bishop did a considerable amount of work on the texture, keeping the marble porous enough to blend with the concrete in this key shot. Tracker, Ruy Delgado achieved a perfect lock on the camera moves in SynthEyes using photogrammetry, lens specs, camera measurements and other on-set survey data. The depth of detail enabled him to match the marble columns inside the courthouse exactly. Working from overcast and flatly lit plates, lighting artist Bryan Shepperd added interest to the feel of the shots, while maintaining the continuity needed to blend with the shows. Compositing supervisor, Dan Short, lead his team through the process of merging the practical photography with renders created with Redshift and then seamlessly composited all of the shots using The Foundry’s NUKE. “These episodes required a combination of good planning and a talented team of over 25 artists and support staff,” says Lynn. “We pulled out all the stops to deliver a large shot counts of complex, high-quality VFX, and make last minute changes, while still meeting a tight deadline and getting the most value out of the budget.” “The crossover episodes of Scandal and How to Get Away with Murder showcase some of the best television visual effects that VFX Legion has created to date,” adds James David Hattin, the company’s founder, creative director, and senior VFX supervisor. “I’m very proud of all of the hard work that our team put into these shows and the results we achieved. Watching the final shows on air was jaw-dropping.”