Obviously, we're getting elements from the sets, but the lighting team was working in Maya.Īt Digital Domain, we have a lot of custom tools.
We use a heavily modded V-Ray and Maya pipeline on the lighting side. What was your workflow for creating the shots? There was also a harbor they filmed, with a visible city behind it, so we had to replace very large parts of those plates. When we shot in Iceland, it wasn't as icy and snowy as we hoped, so we had to replace a lot of snow throughout the environment. One of them was more bare bones the other, and there were very extensive set replacements. We went to shoot in Iceland, and there was another separate set in Atlanta. If you’d like to hear more about The Fate of the Furious’s VFX and stunts, listen to this CG Garage podcast with Digital Domain’s VFX supervisor Jay Barton. We spoke to Carlos Cidrais, Lead Lighting Artist, about how the sub base scenes were achieved. It’s a battle which ends with one of the franchise’s best sequences - the infiltration of a Russian submarine base, followed by a frantic chase across an ice field.įurious regular Digital Domain handled the effects for this sequence. In Fate of the Furious, the latest film in the franchise, cyber terrorist Cipher (Charlize Theron) pits Dom (Vin Diesel) against the rest of his crew. They follow tense heists with getaways in shiny sports cars, delivering white-knuckle thrills and physics-defying stunts along the way.
It’s easy to see the attraction of the films. From the first installment in 2001, it’s produced seven sequels and made a total of over $5 billion. The Fast and the Furious franchise has become one of the most successful in cinema history. Sub-zero chase realized with V-Ray 3.5 for Maya’s Adaptive Lights tech
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