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“It was a hood that went on his head and there were LED lights that flickered in yellow and orange,” explains Durst. To film plates for these shots, Nicolas Cage wore an LED helmet on set. The notable visual effect in Spirit of Vengeance is, of course, Ghost Rider’s flaming head. We tried to also get clean plates and extra photography reference where we could.” Flame-on You can also do a low position and a high position and use it to triangulate measurements to get lidar-type results. That gave us HDRI data and textures very quickly. It will do the complete 360 in 45 seconds.

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“For survey data,” says Durst, “we used the Civetta – a panoramic camera with full dynamic range so you can shoot effectively 26 stops. On set, this on-the-fly approach required quick set-ups with the RED One MXs and fast camera lens and data acquisition. They pretty much did that in the Crank movies, as did the DoP Brandon Trost.” It gives a degree of intimacy that you often don’t get with the director talking about what they want, as opposed to doing it. So he’s going frontwards and backwards with the camera looking at a motorbike going at least 45 miles an hour – no protection at all – just doing it. “In one case,” adds Durst, “we were up in Transylvania in these mountains on this very narrow road and Mark likes to shoot with his camera on roller blades. So instead of telling the operator to get in closer and do one thing or another, they would grab the camera and actually do it.” Iloura augmented the live action plate for this shot to create an exploding vehicle as part of the convoy.

They use the camera as an actor in the film. “Because of the way Mark and Brian shoot – at their heart they are camera operators – the production was more run and gun, which suited the style of the film anyway. Owing to a relatively short pre-pro schedule and the hands-on approach of the directors, Durst says Spirit of Vengeance did not follow a typical planning and previs effort. Shooting in up-and-coming locations in Romania and Turkey can be a little challenging because they take a lot more planning – you can’t just get a crane sent out – but you have to improvise and that’s what we’re able to do.” ‘We just went out and shot’ Fulle says, “it’s kind of business as usual for us dealing with companies around the world so that was very manageable.

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The effects shots were reviewed mostly via cineSync sessions, relying on 5thKind to manage assets and a tailored FileMaker Pro database to manage the shots from companies in LA to Melbourne. It was a 3D pipeline where we shared shots and we were able to have the VFX vendor do their matchmove and roto work, send it to the conversion vendor to do left eye/right eye and send it back with the cameras to VFX to render natively in stereo.” “So we came up with a hybrid pipeline with the conversion and VFX vendors.

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“We had to work out how to do the conversion on a 3D flaming head because of its volumetric nature,” she says. Fulle says the conversion was one of the biggest challenges conceptually.

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Ultimately, visual effects producer Jenny Fulle, through her Creative-Cartel production company, co-ordinated the efforts of Iloura and other vendors on 850 shots, plus the work of two stereo conversion houses – Gener8 and Legend3D. “Iloura did a test in record time,” he says, “and they really nailed it and got the feeling of Ghost Rider – not just taking it literally for the charred skull but they also had the dark feeling of it.” Progression shot of Ghost Rider's motorcycle. Anything around him too becomes like that, such as his bike.” Durst took that idea to a number of effects facilities to provide tests as part of the bidding process.

“But here he has a dark face that’s been burnt. “In the first film there was a clean-ness about it,” says visual effects supervisor Eric Durst. wp-content/uploads/2012/03/GhostRider2_clip1.mp4Watch a scene from the film.Īlthough in both films Ghost Rider is seen sporting a flaming skull, Spirit of Vengeance called on the titular character to be much more dirty and gritty.