Daniel Marum, 3D lead, came up with a basic approach for the effect: I animated 3D glass bubbles and lit them with a realistic glass shader. To this purpose, overall visual effects supervisor Jim Mitchell commissioned Animal Logic and in-house supervisor Kirsty Millar. On set, the egg was filmed as a practical glass prop, but director Mike Newell wanted it to look more ethereal than could be achieved in camera. The young contender takes the egg to Hogwarts and tries to figure out its meaning, as the artifact is actually a clue leading to the second task. As for the background, it was a combination of CG environment (the lower part of the arena) and live-action plates (the spectators in the stands).Īnd the winner of this first task is surprise! Harry Potter.
GOBLET OF FIRE FULL
Throughout the sequence, Harry Potter is either a bluescreen element of Daniel Radcliffe, or a CG double, the latter appearing sometimes full screen. It could be too furry, too particly So, we ended up shooting practical fire elements and mixing them in with the animation. We knew something was missing even though we couldnt put our finger on it.
We spent months of R&D on the fire, using volumetric rendering and particle animation to create it, but, still, there were shots in which something wasnt quite right about it. The fire emitted by the creature was created via CG animation with practical elements integrated into it. Altogether, the paint job lasted about 12 weeks. So, we went back and sculpted extra details on the model. At one point, we found out that we couldnt get the exact right shape on the tail using displacement maps alone. The textures were still photographs of the maquette projected onto the model and associated with additional maps. For the dragon, we started with a cyberscan of a quarter-scale maquette provided by the production art department, recalls visual effects supervisor Tim Alexander. Comprising 140 shots, the sequence was awarded to Industrial Light and Magic (ILM), with Cinesite creating 16 shots featuring different scale-models of the arena. First Task: Tame the Dragonįour contenders are chosen by the Goblet of Fire, including Harry, and the action moves on to the first of their three tasks: retrieve a golden egg from a nest guarded by a fierce dragon. The scenes were rendered either in Maya for the fire elements or in 3D Lite for the Age Line elements. Digital effects supervisor Will Gammon had to pour in all sorts of 2D techniques in order to build up the level of detail by combining multiple elements, noise passes, turbulence and such. As we grew the size of the elements, we found that the level of detail diminished dramatically and we would loose the nice little ragged bits around the edges of the flames. Since those were created in 3D Voxel space, they consumed a large amount of memory. This shot contained around 40 different fire elements. We then defined a basic library of 3D elements and applied the different looks to a nominated master shot the one where the Weasley twins are thrown out of the Age Line.
Using Maya Fluids, we first built up a library of different flames that looked cool, visual effects supervisor Tony Clark says. The Goblet fire-like effects were created in CG by Rising Sun Pictures, which created more than 50 shots. Once the Goblet of Fire sets into action, things start to turn bad for Harry Potter, as he is selected to participate in the Triwizard Tournament.
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