![]() ![]() It’s one of those things: You look at the dragon sweeping over the ocean and there’s fire and all these amazing things happening, and the hardest thing in the world is having her stupid knees not slide on top of the dragon. Literally we had to deform the lower half of her body to make it fit. Some of the shots, we replaced her legs completely others we mapped them on to a new piece of geometry and moved them around. ![]() Everything else in those sequences was easy compared to trying to get her to sit on top of the stupid dragon with its stupid muscles. We ended up replacing her legs on so many of the shots just to get it to follow the trap muscles on the back of the dragon. So we had the dragon flying and the muscles moving - but Dany’s legs didn’t react to any of it. They move, and when they move, they flex, and their muscles move too. What we found out is that dragons aren’t like solid pieces of wood. We thought, okay, this will all line up, and it will be perfect, because we did so much planning. That would be moving, everything would be moving, and we planned out all these moves ahead of time, planned in motion control. The production came up with a system of using moving cameras and putting Emilia Clarke on top of what’s called a buck, which is a wooden form for the dragon. We thought, well, next season we should move the cameras more, and move her more, too. ![]() One of the things we learned, doing season five, was that when those dragons flew out of the arena, it looked a little bit too simple, because the cameras didn’t move. ![]() If you’re a VFX artist or SFX designer who has a story to share, let us know at Game of Thrones, seasons six and seven (2016-2017), Daenerys riding a dragonĭerek Spears, VFX supervisor, Pixomondo: In season six and season seven of Game of Thrones, we started putting Daenerys on top of the dragon. This story was original published in 2018, but has been updated to include more recent conversations with VFX supervisors. The resulting stories run the gamut from the computer-generated to the practical, the spectacular to the subtle, and all of them remind us of the sweat that goes into making movie magic. The race to innovate hasn’t stopped since, and it has always involved pushing the medium to its limits.Īs part of Vulture’s weeklong series of stories about the wonder of special effects, we spoke to 35 filmmakers - directors, cinematographers, effects artists - about the toughest effect they’ve ever pulled off. Around the same time, the pioneering Georges Méliès developed a similar switcheroo, then went on to even mix live-action and animation in 1902’s legendary Le Voyage dans la Lune. In a gruesome short about the beheading of Mary, Queen of Scots, Clark stopped the film just as the blade was about to chop off Mary’s head, instructed the actors to freeze, took the one playing Mary off the set, replaced her with a dummy, and started the film again before bringing the poor dummy to its decapitated fate. The year 1893 saw the first public viewing of a kinetoscope film, Blacksmith Scene, and just two years later, early filmmaker Alfred Clark executed what is commonly regarded as the first special effect. Photo-Illustration: Vulture/ Photo by Paramount Picturesįor nearly as long as we’ve had motion pictures, we’ve had illusions to put in them - and they’ve never come easy. No New York Cities were harmed in the faking of Deep Impact’s giant wave ![]()
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