Today we’re celebrating by bringing you a spooky selection from The Molecule’s VFX and Motion Graphics archives.
Virtual Reality has been in the news a lot lately. In addition to the now infamous August 17th cover story in Time Magazine, articles range from college football training to anxiety therapy. Every day more companies are latching on and beginning to develop VR pipelines. We at The Molecule are never ones to shy away from new challenges, and we are excited to announce that we have recently made Virtual Reality a growing part of our repertoire.
We combined Hugin and Nuke in a unique pipeline that accommodates a wide range of filming options from GoPro to 6k Dragon to Phantom rigs, in both stereo and mono, including motion graphics and VFX. One of our favorite moments was when CEO Chris Healer developed an algorithm to render stereoscopic motion graphics spherically in Nuke.
Already we’ve completed a few projects in collaboration with Supersphere Productions – and we promise to talk about all of that very soon!
And we’re still not done innovating. As we write this blog post, we have a senior compositor tracking VR footage with moving cameras, a process that will let us comp CG into virtual reality. We’ll be updating this blog as we continue to delve deeper into the world of VR. We can’t wait to be able to share what we’ve been working on!
The Molecule’s west coast branch is having a housewarming today to announce our move to The Hollywood Production Center’s N. Gower Street office in Hollywood. Our LA team is relocating just a stone’s throw away from it’s former office to a new block just south of Sunset Blvd – a spot that is central to the bustling Hollywood activity.
Lauren Ellis, The Molecule’s VFX Producer in LA, says, “With feature film and TV shows cycling in and out of the halls, it’s the perfect neighborhood for our LA office to continue it’s expansion into the Hollywood entertainment community.”
The HPC’s building is home to many production teams including scripted televisions giants Warner Brothers and HBO. It is the perfect setup for professionals in the industry to work among like-minded individuals, and the property’s layout nurtures creativity, collaboration, and community.
If you’re in the neighborhood, come check us out! We’re welcoming our new neighbors in The Hollywood Production Centers to stop by, chat over drinks, pick up some swag, and check out our work.
“Ballers” is HBO’s newest addition to their Sunday night time slot. The show premiered last weekend, and it centers on former NFL player Spencer Strasmore (played by Dwayne “The Rock” Johnson) who now stays in the game by playing financial advisor to current NFL pros.
The opening titles for the new series were created by The Molecule’s Motion Graphics department.
“Our main goal was to take a lo-fi, candid approach to representing football as part of America’s DNA, while introducing Miami in all its splendor as one of the sport’s Valhallan cities,” explains Chad Sikora, The Molecule’s Animation Supervisor.
Not all visual effects involve car explosions, buildings toppling over, or satellites circling the earth. Sometimes in order to keep continuity or better tell a story, visual effects are used in subtle ways leaving the audience oblivious the image was ever affected at all.
In the case of the newly released film “Love And Mercy” starring John Cusack and Paul Dano, these covert techniques were sprinkled throughout the film. Whether it was enlarging a sailboat in the water to emphasize it’s appearance, or replacing a pair of shoes for continuity, many visual effects go completely unnoticed.