Crumpit sets using Corenblith's designs, cloned the practical sleigh, and designed and built Who valley, the mountain ranges, and the skies. Digital Domain extended the Who-ville and Mt. Virtual sets were built for the rest of the environment. Physical sets were built for the town square, the Grinch's cave, the sleigh, the very top of Mt. Their designs all reflect a Seussian style: The Whos look like people but not quite and there are no straight lines in Who-ville. Production designer Michael Corenblith designed the Who-ville buildings special effects make-up artist Rick Baker turned Jim Carrey into the Grinch using green makeup, prosthetics, and yak hair, and turned the other actors into Whos. To make a "Pee Wee" march out of a tuba, Digital Domain used Maya for modeling and animation, and Mental Image for rendering. "The idea was to create a real sense of place so that over the course of the film the geography would become clear the audience would sense which way is north." "Our biggest challenge was creating the world the Whos live in," Mack says. Most of the all-CG shots take place outdoors, often in full daylight. "There are probably another 50 that are 80 to 90 percent CG and another 50 that are 70 percent or more," Mack adds. Of the 354 shots created at Digital Domain, about 30 were made entirely with computer graphics. The film has CG effects throughout-even scenes that seem to be entirely live action will have CG snow falling. In addition, the crew relied on in-house tools, notably the compositing software, Nuke, and on conduits that link all the programs. Richmond, CA) PR RenderMan handled the rendering and Interactive Effects' (Santa Monica, CA) Amazon Paint created skies and textures. Mental Images' (Berlin) Mental Ray and Pixar Animation Studio's (Pt. The crew used Alias|Wavefront's (Toronto) Maya primarily for the character pipeline and to create terrain, buildings, the sleigh, and other models Side Effects' (Toronto) Houdini was used primarily for the effects pipeline and for procedural animation, although both programs were used interchangeably. Crumpit, created tons of snow, rendered thousands of trees, made bugs and bananas, fire and icicles, a girl and a dog, and much, much more. Wearing makeup created by Rick Baker and, for this shot, a grin extended with a morph at Digital Domain, Jim Carrey becomes the Grinch.īy the time the effects crew finished, they had modeled entire mountain ranges, painted skies and filled them with 3D volumetric clouds, sprinkled the town with digital Whos, animated a wild sleigh ride down the snowy, rocky all-digital Mt. For How the Grinch Stole Christmas, Digital Domain applied the technology and techniques developed to create photorealistic real worlds to creating instead what the people at the studio began to think of as "a real world, just not our world." "We've got a little bit of everything in this one." The studio, which won an Academy Award for Titanic, is known for creating invisible visual effects-photorealistic effects that blend seamlessly into live-action movies such as Apollo 13 and True Lies, as well as surreal effects for Fifth Element and What Dreams May Come. "It's the biggest movie we've done," says Kevin Mack, visual effects supervisor. Otherwise, it's digital, as are the trees and snow in the background. In shots where you clearly see the Grinch (Jim Carrey) in the sleigh, the sleigh is real. Digital Domain (Venice, CA), provided most of the visual effects, using computer graphics to help create the whimsical world of Who-ville and, as Dr. Ron Howard directed the movie, which also stars Taylor Momsen as Cindy-Lou Who and Christine Baranski as Martha-May Whovier. The Universal Pictures' release of the film stars Jim Carrey as the old Grinch who steals all the presents in the town of Who-ville only to learn, with the help of Cindy-Lou Who, that the true spirit of Christmas doesn't come from a store. Seuss's much-loved How the Grinch Stole Christmas? What better way to end the year than with a fantastical, magical, storybook world created with computer graphics? And what better story to tell than Dr. This year, we've seen realistic storms at sea and humans created with computer graphics, science fiction effects and animated films, digital dinosaurs, and 3D cartoon characters in live-action backgrounds.
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