American Cinematographer - April 2003 - 59

Ml

Huge Ritter fans hover above

volume. We're

a

setpiece depicting the X-Jet's interior.

doing around 90

shots that involve Cerebro."
Over at

visual-effects

Hollander

Rhythm & Hues,
supervisor Richard
tasked with coordi¬

iron

were

animated in Houdini.

Magneto makes his escape by
using the newfound iron to shatter
the cell walls. "Aside from the

guard

nating almost 300 shots, ranging
from matte paintings of Stryker's

the cell platform and Ian
McKellen, that environment was all
CG," Hollander says. "In all of the big

ruined Alkali base

shots where we

was

various super¬

area,

animations, plus the over¬
whelmingly complex X-Jet dogfight
and a climactic deluge.
Another major
sequence
involves Magneto's escape from his
all-glass cell. Devising the effects for

see the
glass structure
deadly sheets, the tough
part was not rendering the quality of
glass, but getting the dynamics of it
breaking into shards. We animated
the glass procedurally in Houdini
and then shipped it to our in-house

this

Tenderer, Wren."

as

Tougher still was creating a
six-minute-long sequence involving

to

power

scene was almost as
challenging
engineering the break itself.
Designed to thwart Magneto's power
to manipulate metal, the transparent
jail sits atop a pillar 100' in the air,
isolated from all four walls by 70'wide moats. After a guard gets an
overdose of iron, Magneto (Ian
McKellen) makes a commanding
gesture and extracts his blood. "The
red portion mists to the floor, while
the iron filings, which are a darker
particulate material, swarm toward
his hand," says Hollander, who adds
that the particle-system blood and

shatter into

more

than 100 effects shots of the X-

jet outrunning and dodging two F16 fighter planes. The 1 lO'-long X-jet
is slinkier and darker than before,
with

curves and an 85'
wingspan.
X-jet lifts off vertically like a
Harrier jet and flies as fast as an SR-

The

71; the craft and the F-16s
modeled in

were

Maya, animated in

Voodoo and rendered in Wren.
But it wasn't

that

were

only the planes
completely CG: much of

Shooting in Europe? Call us!
Phone:49
Fox:

49

-(0) 221.17 92-6
(0)221.1792-79

info@mat-film.tv

*

www.mat-film.tv

55



American Cinematographer - April 2003

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