![]() Rhythm & Hues, under visual effects supervisor Gregory Steele, delivered 160 shots made up of character work for Emma Frost, Angel and Mystique, as well as set extensions and environments at the Lincoln Memorial, the X-Jet hangar and a CIA facility. ![]() Rhythm & Hues creates Emma Frost, Mystique and Angel Original plate Final shot “We really started with the characters,” says Dykstra, “and the coolest manifestation of their powers and fitted it into 1) the story we were telling, 2) the genealogy of the comic book and 3) what just looked best visually.”Ĭlick here for our fxinsider Q&A with X-Men: First Class visual effects designer John Dykstra Dykstra was aided by visual effects supervisors Stephane Ceretti and Rob Hodgson and visual effects producer Denise Davis, and sought a fresh approach to the work that would still segue into the existing X-Men Marvel universe. Prosthetic, practical and make-up effects were also a major part of the production. ![]() Many of the film’s complicated sequences were previs’d by The Third Floor and other vendors. The film was shot at Pinewood Studios in London, in Georgia and in California. In this article, we go in-depth on the characters and final battle with the leading effects studios on the show: Rhythm & Hues, Cinesite, Luma Pictures, Digital Domain, MPC and Weta Digital. The film contains over 1000 visual effects shots created under the helm of visual effects designer John Dykstra. X-Men: First Class, Matthew Vaughn’s prequel to the existing X-Men films, takes place in 1962 and brings together Professor Charles Xavier and Erik Lensherr, later to become Magneto, and a band of young mutants.
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