This may not be said aloud much, because it looks obvious or the viewers are simply subconsciously understood during a viewing, but The Throne Game presents the best work of visual effects that have ever been on the TV Although Emmie is not an ideal metric, she points out that people in the television industry admire and want to admit at a certain point in time – experts, look at other experts figuratively, and nod in respecting their confirmation. In seven seasons, The Throne Game won Emmy for "Outstanding Visual Effects – Series" six times (somehow she lost in S1 to Boardwalk Empire ). Star Trek in all series since the 1960s, has only eight versions of this award. This series brought the idea of a beam to the mainstream and a sort of-predicted iPad.
With a very unbreakable battle at Winterfell, finally came into action, smart money now probably sits on the thriller The VFX team won seven out of eight Emmy elections. The dragons flew in white conditions, hundreds of Dothraki were shot with blazing swords, and characters like Samvel Tarley or Melissander really saw every little undead piece of White Walker. One of the parties in this battle literally built a bridge with the floor of the bodies.
Like all that of the last season of the throne game unfortunately, the VFX professionals who worked on the current stock were embedded. from discussing this issue – not only in Winterfell, any of S8, until the final end of the series. But given the fact that the world was eager for what the audience witnessed this week, perhaps looking at the past show, one can talk about what makes the effects around Westeros so special.
Yes, he includes dragons and white walkers
The best technical VFX around
The discussion of the past times of the famous Throne Game becomes tough, not pushing people to Image Engine. The VFX House in Vancouver was quietly working on Joman's work on some of the most visually stunning films of the last decade, creating everything that began with predators Jurassic World to Graphon Fantastic Beasts Well, human / mutants in Logan . And when The game of the Thrones began to become more and more technically demanding in later seasons (as you know, White Walkers and Dragons began to appear more often), HBO turned to Image Engine services starting from season 5.
Since then, the company has had a great hand in everything from the construction of ice walls around the Black Castle to the major Citadel libraries, as well as the development of token symbols such as King Nights or Drogon. Image Engine has also placed cult scenes of death, starting with John Snow, who has beheaded a certain person to the end of Ramzi Bolton. Work Image Engine on S7 has involved about 100 employees. (And the show itself is working with several VFX vendors – the Australian film VFX house Illoura has been working on expanding the crowd and individuals during parts of S7, for example.) Challenges GoT gifts and matching on the screen
" The game of the Thrones represents tectonic shifts in how we think about television – before the game of the thrones I was the head of the VFX, working exclusively from feature films, and working on television, is considered a reduction – says Throne Image Engine VFX Supervisor Thomas Schelesny. So when I was asked to start to play on The game of the thrones I will be honest, I do not know, I did not have HBO, no one told me about the show, and I did not do it I do not know what I'm getting into. But the high work of the TV went away from something that cinematographers do not want to do to do the work we all want It's fast, dynamic, fast, and the quality should be really high, so that's really a field for really experienced performers. us ".
The game of the thrones sprayed it at the right time in this light; the amount of budget and time required for modern television programs is finally correct for the quality level of VFX, which was previously only available on the big screen. Thrones are not the only one in this respect – in December Vulture went deeply into how the lions for Netflix The series of unfortunate events coincided almost with what Disney showed in the teasers for their live action Lion King -Although HBO gives this figure a larger schedule of leniency and financial support than practically anything else on television. The show cost $ 15 million per episode in S8, and these episodes came about two years after the end of S7 . Probably the big cinema production lasts longer, but high-end television is approaching. "It's hard to determine how fast we are working on TV shows against the movie," says Skeleznye. "But as a rude guess, I would say that high-end television projects turn their work in 70-80% of the time that one could spend on a feature film."
In this environment, one of the greatest tasks Throne Animation Controller Jason Sleiman at S7 has attracted those favorite dragons. Schelesny estimates the HBO pushed VFX staff by 15 to 20 percent more complexity and volume with each respective season. The official figures for HBO seem to confirm this. For example, in a documentary film on the S7 "Loot Train" scene Game of Thrones The VFX supervisor Joe Bauer notes that in S6 11 fires were shown by Daenerys riding a dragon. In single sequences, the Loot Train show was over 80.
So, not only the store, like the Image Engine, works more simply, but shots seem to grow infinitely more difficult. Compared to their debut as baby cute stuff, the dragons in the S7 are now matured and expanded (Boeing 747 size according to what is behind the scenes). This means that there is a greater need for the details and various actions that may take place. Combine this with an impressive amount of visual perspectives in such a sequence as the Loot Train, and it becomes easy to figure out how much the shots start to press 100 – and it's easy to imagine that it should have been for parts of the S8.
Only three episodes Daenerys has basically taken John Snow in Phantom Menace underway using her mythical reptiles and the audience finally received a throne version of Darth v. saber battle (it includes the fire and breath of the ice dragon against the moonlight). In the Winterfell battle, there were only a few stunning visual sequences: the bran, involving the three-headed crow mode to see King Night; Liana Mormon is heroically piercing the inanimate giant in the eye; Arya participating in the stealth mode maneuvered to kill a few white walkers and avoid their own close calls. Any of these moments is likely to be able to fill out your own documentary (or the story is the same). increasing difficulty continues. "I want to say that this is the most difficult animation I've done for my whole life," says Remmin. – I can say that. And these technical problems came under pressure as no other project on which the team worked. Avengers you have a fan base, but with The game of the thrones is all that is a fan, – says Sniman Arcus. You know that your work will be considered and your colleagues will comment on it, so you want to do something as amazing as possible. to this character, which we did not have to think about – the whole monster bends and does not breathe in the previous dragons, – he adds. – We always look back to see that we can improve, and now I have this creature can have a train that controls the wings and you can feel how power is depicted in the way it flies. You make the character alive and you see that all these tiny elements pass in the last render – you have a dragon flying over a meadow with daylight – it looks extremely impressive. "