Rising Sun Pictures has been nominated for Outstanding Compositing in a Photoreal Feature in the Visual Effects Society’s 15th Annual VES Awards. The nomination comes for the studio’s work on the Quicksilver Extraction sequence from the 20th Century Fox film X-Men: Apocalypse. Nominees include Alana Newell and compositors Jess Burnheim, Andy Peel and Matthew Shaw.
Rising Sun Pictures
For the finale of season six of HBO’s smash hit Game of Thrones, Rising Sun Pictures faced a formidable challenge: replicate the sprawling city of King’s Landing and its central shrine, the Great Sept of Baelor, then burn them to the ground in a magical, green-hued inferno. New to the Game of Thrones production team, RSP created visual effects for several episodes of the show’s recently concluded season. Most of the work centered on King’s Landing and the Sept as artists produced photo-realistic CG environments, set extensions and architectural enhancements that were blended with location footage to create the luxurious, walled city overlooking the sea.
X-Men: Apocalypse, the latest entrant in Twentieth Century Fox’s popular superhero franchise, features more time-bending magic from Australia’s Rising Sun Pictures. The visual effects studio contributed to several key sequences in the film, most notably an electrifying scene where Quicksilver (Evan Peters) uses his hyper-speed ability to rescue students from an exploding mansion. Quicksilver’s Rescue builds on a notable scene from the preceding X-Men: Days of Future Past where the character races around a Pentagon cafeteria to prevent security guards from shooting a trio of X-Men. RSP’s impeccable work in making pots, pans, bullets and water drops freeze in mid-air helped the film earn an Academy Award nomination for Best Visual Effects.
Rising Sun Pictures visual effects supervisor Tim Crosbie is part of the team nominated for an Academy Award for Best Achievement in Visual Effects for the film X-Men: Days of Future Past. Crosbie supervised the team of RSP artists involved in creating the film’s exuberant Kitchen scene where time appears to stand still as the speedy Quicksilver darts about the Pentagon cafeteria to foil guards attacking a group of mutants. Also named in the nomination are Richard Stammers, Lou Pecora and Cameron Waldbauer.
Based on Peter Rees’ book The Other ANZACs, ANZAC Girls tells the true story of five military nurses from Australia and New Zealand who served with Allied forces during World War I. Witnessing the horrors of war, the women experienced severe hardships while tending to the wounded and formed bonds of friendship that would last a lifetime. As series producer Lisa Scott (who produced the series with Felicity Packard) explains, the series “offers unique insight by showing how the war affected people, other than soldiers on the line.” The first episode premiered on Australian TV earlier this month and got exceptional ratings around Australia and much critical acclaim.
Rising Sun Pictures’ contribution to Twentieth Century Fox’s X-Men Days of Future Past centered on a time-bending sequence in which Quicksilver (Evan Peters) displays his hyper-speed abilities with spectacular effect.
In Lakeshore Entertainment’s I, Frankenstein director Stuart Beattie offers a darkly cerebral tale in which the monster of the Mary Shelley novel has survived to modern day and become embroiled in a deadly confrontation between an assortment of grisly gargoyles and demons.
Producers are the unsung heroes of the visual effects industry. Working on the periphery, their contributions aren’t always acknowledged, but their role as project manager, budget overseer, client advocate and cheerleader to the visual effects team is essential to the success of the project. If artists are the gears that drive the visual effects engine, producers are the grease that allows the gears to turn smoothly.
Rising Sun Pictures created more than 260 visual effects shots for The Wolverine, the new action film from director James Mangold and Twentieth Century Fox. RSP helped to recreate the World War II atomic bomb attack on Nagasaki, Japan. It also produced digital environments for a number of sequences, including a scene set in a snow-covered Japanese village, and combat effects such as digital copies of Wolverine’s iconic claws for use in numerous scenes involving challenging stunts.