![]() Still, the animators had the opportunity to add their own touches to the character, which included his habit of playing with something in his hands at nearly all times. The animation team worked hard to get all that observational detail into Rocket and became really intuitive to what he would do in any situation.” He was very big on the fact that when you shoot live action the actors don’t always look at each other when they’re talking, whereas there’s a tendency for animators to always make characters face who they’re talking to. “He often wanted to keep him casual and low-key, rather than over-acted. “James Gunn instinctively had a gut feeling of what was right for Rocket,” said Spruce. However, Gunn was insistent that less was more when it comes to animating Rocket. On the set, a variety of techniques were used to simulate Rocket’s presence in scenes with human actors, with James Gunn’s brother Sean standing in – or rather, sitting in – for the raccoon on occasion. His distinctive raccoon-pattern markings were the result of changing the color maps on individual hairs and using a mixing effect to create the speckled look on certain hairs (particularly the longer hairs). Rather than map out his entire coat of fur using a few sections of hair, Framestore strove for a more realistic look by simulating every single hair on Rocket’s body and how they interacted with the other hairs. #Rocket guardians of the galaxy how toOnce they settled how to find that balance and had a good visual reference from director James Gunn and the Marvel Studios team, Framestore set about bringing Rocket to life – every single hair of him. “If you exaggerate his performance and make him too cartoony you’ve lost the audience but if you go too real you’ll end up with something that isn’t entertaining or doesn’t do Bradley’s voice justice,” explained Framestore’s animation supervisor, Kevin Spruce. MPC created Groot and Framestore created Rocket and then they shared.”įor its part, Framestore was tasked with finding the balance between the silliness of a walking, talking raccoon that has an affinity for oversized weaponry and the serious elements of his role in the film and Bradley Cooper’s voice performance for the character. “So we decided to use the two companies to balance the load. Framestore did tests for a very good Rocket,” recalled VFX supervisor Stephane Ceretti in an interview with StudioDaily. “MPC did early tests for both characters and did a good Groot. With these particular characters, Marvel took the unusual step of dividing the work between two separate VFX studios: Framestore, which developed Rocket Raccoon and MPC, the studio tasked with creating Groot. When it comes to the success of CG (computer generated) creatures Rocket Raccoon and Groot, Marvel Studios owes thanks to the talented visual-effects studios that brought their supporting characters to life. The team at Marvel has an uncanny ability to turn any characters into box-office gold. #Rocket guardians of the galaxy moviePossibly more than any other Marvel movie so far, Guardians of the Galaxy proved that the team at Marvel has an uncanny ability to turn any characters – whether lesser-known or in this case, barely known – into box-office gold. The studio doubled-down in 2014 with two films earning Oscar nominations, Captain America: The Winter Soldier and Guardians of the Galaxy, but only one of them features a heavily-armed, talking raccoon and a massive, sentient tree with a limited vocabulary. Marvel Studios has made a habit of breaking box-office records with each addition to its rapidly expanding cinematic universe, but it has yet to bring home an Oscar despite multiple films nominated in the Visual Effects category over the years. Now, we get the scoop on the digitally created duo that were the breakout stars of Marvel’s Guardians of the Galaxy. Previously, we looked at the face-mapping effects in Captain America: The Winter Soldier and the (literally) groundbreaking effects in Dawn of the Planet of the Apes. In recognition of these films and one of our favorite Oscar categories, we’re putting the spotlight on one “Visual Effects” nominee each day leading up to Sunday’s broadcast and taking a closer look at what made them stand out. Fitbit Versa 3įive films are nominated for an Academy Award in the “Visual Effects” category this year, and they each offer a nice look at the amazing tricks filmmakers and their effects teams can pull off on the big screen. ![]()
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