Amazing Before & After VFX Breakdown - Jumanji: The Next Level

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After the success of the 2017 sequel, Jumanji: Welcome to the Jungle, Sony Pictures comes back bigger and better with the adeptly named Jumanji: The Next Level! No longer just a Jungle, this new world more complex, has more animals, more obstacles, and consequently more VFX.
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Due to the complexity of some of the action scenes, digital doubles were required so Industrial pixel shipped out a special rig called a Structured Light Photogrammetry Capture (SPC-HD) rig. this rig contains 150 cameras set up in a 360-degree fashion with 12 hi-res cameras for facial capture it also has led strips to light the actors as uniformly and neutrally as possible.

The ostriches required a tremendous amount of work because ostriches move strangely in real life.
They run fast but with long strides so they look slow. SPI overcame this by staggering their footfalls so no two ostriches were in sync, this eliminated the slow running effect.
Their necks have snakelike movements but at the same time needed to look powerful and strong enough to cause damage. SPI used ZIVA for the muscle simulations on the legs and neck but the most complex simulations were the feathers, with each bird flapping its wings differently, the wind moving them and the light interacting with them.
If you then include sand movement, footfalls, dust clouds and the removal of crew footprints and vehicle tracks SPI had a monstrous task ahead.

King of the apes, VFX house Weta was challenged with making Mandrills look more real than they do in real life. If you think about it, with its bright blue and red face, crimped fur, and hideous teeth it only looks real because we know it is real, but an exact copy in a film and it looks fake. Weta had to tone down facial coloring making the mandrills look plainer and more aggressive adding exaggerated fur matting and dirt gave the primates a more realistic feel.

For this scene, Rodeo VFX created a full CG flyover shot with photoreal CG buildings, CG crowd, and extensive DMP work. they also worked on an intense fight scene using full digital doubles of the actors.
Method Studios created a CG airship for this scene which had to crash against buildings and mountains they also worked side by side with Rodeo Vfx on CG horses and snowy backdrops.

Over 5 VFX houses, 1900 shots, and 5000 artists, sometimes working 15 hour days went into this mammoth task that was delivered just 45 minutes short of its deadline.

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