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One of Us VFX
เข้าร่วมเมื่อ 28 ก.พ. 2022
One Of Us is an award winning visual effects studio. With a focus on design and collaboration we apply creative intelligence through filmmakers' sensibility.
Constellation VFX Breakdown Reel | One of Us
Take a trip to the vast expanse of outer space with One of Us.
Our teams across the London and Paris studios have embarked on an interstellar journey on Apple’s ‘Constellation,’ crafting breathtaking full CG space shots of the Earth and ISS, building CG Astronauts, and designing the look of zero-gravity explosions, blood and destruction. We’re thrilled to be able to show you what they’ve created.
We would like to extend our heartfelt gratitude to VFX Supervisor Doug Larmour for collaborating with us and to the wider Apple team for their ongoing partnership. Take a look at our breakdown now.
#Constellation #Appletv #Oneofus #Oneofusvfx #vfxstudio #vfxbreakdown #space #ISS
Our teams across the London and Paris studios have embarked on an interstellar journey on Apple’s ‘Constellation,’ crafting breathtaking full CG space shots of the Earth and ISS, building CG Astronauts, and designing the look of zero-gravity explosions, blood and destruction. We’re thrilled to be able to show you what they’ve created.
We would like to extend our heartfelt gratitude to VFX Supervisor Doug Larmour for collaborating with us and to the wider Apple team for their ongoing partnership. Take a look at our breakdown now.
#Constellation #Appletv #Oneofus #Oneofusvfx #vfxstudio #vfxbreakdown #space #ISS
มุมมอง: 1 312
วีดีโอ
Damsel VFX Breakdown Reel | One of Us
มุมมอง 7K7 หลายเดือนก่อน
Our teams across the London and Paris studios have spent the last two years immersed in the dark caves of 'Damsel', breathing life into our fearsome dragon, building a vast cave environment and crafting an assortment of FX work including raging liquid fire, a flock of thousands of burning swallows, dust, debris and destruction, melting and cracking ice, and blood in abundance. We’re delighted t...
The Zone of Interest VFX Breakdown Showreel | One of Us
มุมมอง 57K7 หลายเดือนก่อน
One of Us send our congratulations to the filmmakers on 'The Zone of Interest' on their Academy Award wins for Best Sound and Best International Feature. Our VFX work on the project was very much supporting and required a very light touch but a very strong engagement. We are pleased to share our breakdown reel here. #oneofusvfx #oneofus #thezoneofinterest #vfx #vfxbreakdown #vfxstudio #bts
The Zone of Interest VFX Showreel | One of Us
มุมมอง 18K8 หลายเดือนก่อน
One of Us is proud to have reunited with acclaimed filmmaker Jonathan Glazer on ‘The Zone of Interest’; written and directed by Glazer, and loosely adapted from Martin Amis' novel of the same title, the film delves into the lives of Rudolf Höss (camp commandant of Auschwitz) and his family as they go about their everyday lives over the wall from the horrors of the concentration camp. The team a...
Heart of Stone VFX Breakdown | One of Us
มุมมอง 7539 หลายเดือนก่อน
Heart of Stone VFX Breakdown | One of Us
Environment Reel 2023 | One of Us
มุมมอง 778ปีที่แล้ว
Natural and manmade; geological and architectural; fantastical and photoreal; period, contemporary and futuristic; in snow or rain, on fire, and underwater; One of Us has designed and built a multitude of wonderful environments.
Creature Reel 2023 | One of Us
มุมมอง 693ปีที่แล้ว
The birds and the bees, dinosaurs and deer, robots and monsters; two legs, four legs, six legs, wings; mythical and real, extinct and futuristic; One of Us has brought life to every kind of creature, and there are greater things to come!
The Sandman VFX Breakdown Reel | One of Us
มุมมอง 1.2Kปีที่แล้ว
After 32 years confined to the world of the comic book, this year sees The Sandman brought to Netflix screens by visionary author Neil Gaiman and his fellow executive producers Allan Heinberg and David S. Goyer. Across 240 Visual Effects shots, the One of Us team, made up of almost 100 artists and led by VFX Supervisor James Brennan-Craddock, take the viewer on a supernatural journey into the r...
The Electrical Life of Louis Wain Breakdown Reel | One of Us
มุมมอง 1.3K2 ปีที่แล้ว
Directed by BAFTA winner Will Sharpe (Flowers), The Electrical Life of Louis Wain, documents the life of the eccentric Victorian artist, whose playful, sometimes even psychedelic pictures helped to transform the public’s perception of cats forever. The real beauty of this film lies in the combination of traditional VFX (matte painting on canvas and analogue video techniques) with digital VFX as...
The Sandman VFX Showreel | One of Us
มุมมอง 1.7K2 ปีที่แล้ว
After 32 years confined to the world of the comic book, this year sees The Sandman brought to Netflix screens by visionary author Neil Gaiman and his fellow executive producers Allan Heinberg and David S. Goyer. When the Sandman, aka Dream - the powerful cosmic being who controls all our dreams - is unexpectedly captured and held prisoner for over a century, he must journey across different wor...
House Reel 2023 | One of Us
มุมมอง 3.2K2 ปีที่แล้ว
We’re so pleased to share our brand new 2023 One of Us Showreel! It highlights our latest and greatest VFX work across feature and episodic projects, including Fantastic Beasts 3, The Matrix Resurrections, The Witcher, Bridgerton and Morbius - just to name a few. What are your waiting for? You can now share it with the world! th-cam.com/video/iDU4o9wBXos/w-d-xo.html More info about our work on ...
Morbius VFX Showreel | One of Us
มุมมอง 4312 ปีที่แล้ว
Dangerously ill with a rare blood disorder, and determined to save others suffering his same fate, biochemist Michael Morbius attempts a desperate gamble. What at first appears to be a radical success soon reveals itself to be a remedy potentially worse than the disease. As well as some spectacular environments, the One of Us team brought to life a host of vampire bats and a single white mouse.
Morbius VFX Breakdown Reel | One of Us
มุมมอง 6K2 ปีที่แล้ว
The One of Us team brought to life a host of vampire bats and a single white mouse, as well as some magic spectacular environments.
Bridgerton Season Two 60-sec VFX showreel
มุมมอง 9382 ปีที่แล้ว
As per Julia Quinn’s bestselling novels, which deal with each of the eight Bridgerton siblings in turn, the second season of Shondaland's Netflix series, Bridgerton, focuses on how Viscount Anthony Bridgerton (Jonathan Bailey) sets about selecting the best woman in town. VFX Studio, One of Us, took part in this project as a continuation of the first instalment, working through pre-production, o...
The OA Season Two VFX Breakdown Reel | One of Us
มุมมอง 6402 ปีที่แล้ว
The OA Season Two VFX Breakdown Reel | One of Us
The Crown Season Two VFX Breakdown Reel | One of Us
มุมมอง 4752 ปีที่แล้ว
The Crown Season Two VFX Breakdown Reel | One of Us
Jurassic World: Fallen Kingdom VFX Breakdown Reel | One of Us
มุมมอง 3.3K2 ปีที่แล้ว
Jurassic World: Fallen Kingdom VFX Breakdown Reel | One of Us
Godmothered VFX Breakdown Reel | One of Us
มุมมอง 1602 ปีที่แล้ว
Godmothered VFX Breakdown Reel | One of Us
Bridgerton Season One VFX Breakdown Reel | One of Us
มุมมอง 2212 ปีที่แล้ว
Bridgerton Season One VFX Breakdown Reel | One of Us
Munich: The Edge Of War VFX Breakdown Reel | One of Us
มุมมอง 3902 ปีที่แล้ว
Munich: The Edge Of War VFX Breakdown Reel | One of Us
The Midnight Sky VFX Breakdown Reel | One of Us
มุมมอง 2532 ปีที่แล้ว
The Midnight Sky VFX Breakdown Reel | One of Us
Amazing, guys! Really inspiring!
Awesome
Vfx reels for Season 3 when??
loved this dragon
What was the inspiration for the interior of the dragon's mouth?
Incredible work
very Wes Anderson
Amazing
i get it now - Freaks(1932) - One of us, one of us. Gooble gobble, Gooble gobble. We accept you, we accept you. One of us, one of us.
Incredibly edited and presented
Why were the Nazi flags removed from the bacground building on the left at 1:32?? What's going on in Poland??
David Cole's documentary about Auschwitz really puts this movie in perspective.
love the film. am a little confused as to why they would leave cameras, cables, etc in the shot
Yeah. This just seems lazy to me. Almost like cheating. Just leave a load of crap in shot cos they know they can just scrub it out later. Might as well just do everything on a green screen.
So they could shoot the master shot, all the close-ups of all the actors, all at once. Very efficent film making. They could work alot faster and squeeze more scenes during the initial shoot
@@JakobEkvall I thought about that but it seems like sacrificing time on set with extra required during post.
One of my greatest experiences, worked there as camera's assistant. Really glad for it. Pushing the limits makes you special.
when they said they used “hidden cameras” i didn’t think this is what they meant.
I wonder what all the other camera were are for? I don't remember them using that much angles in those sequences, or maybe they just decided to use one angle in the edit. It does makes sense if they were going for less takes
They basically placed all the cameras beforehand and had the actors do the scene without the crew. It allowed for more natural performances throughout. They tried to hide the cameras from each other but, for some scenes, that just wasn’t possible.
absolutely incredible.
I'm a bit disappointed at how many vfx this film has. For such a starkly realistic and objective narrative, I expected full naturalism with the cinematography as well, and the only thing I could think of in terms of visual effects was the views of the camp in the background. But now I'm astonished at how many things were corrected using vfx.
Naturalism is itself a style - and as you can see from this, a style that can be aided by VFX. All filmmaking is artificial!
Basically all of the VFX that weren’t adding the camp in the background was just removing the cameras and equipment in the handful of scenes where they couldn’t hide them from every view.
the thing that gets me is the trees... how were the trees digitally replaced???
Great work from all involved. I loved the movie and i was curious about the VFX, I had the pleasure of working at One Of Us as a comper a few years back, tremendously talented bunch who have only shot upwards since then.
Just as Fincher's movies VFX, this is a masterclass on immersion and visual storytelling, i would love to work one day with you guys!
Real clotheslines are too expensive, gotta use computers these days
I've never would of thought about half of the vfx's that were used in the movie, omg absolut perfect work.
Its very basic vfx work, steadt background compositing, removal of stuff nothing extraordinary here in terms of vfx.
Does anyone from the VFX company know if there was much or film grading done? Or this is breakdown shown without any grading?
I don’t know for certain if there was any because they wanted the colours in the film to look as uncinematic and realistic as possible to keep the neutral perspective of the movie.
There's always colour grading. Ungraded footage from a modern camera will just look gray and not how it looks in reality. They chose a very naturalist grade, but that's still an active decision they had to make.
A film that will be talked about for years. Congratulations to everyone involved, you've done an amazing job!
You know they did an absolutely amazing job with the vfx when you've seen the movie several times in theatres and not once even thought about the fact that there was any vfx at all.
Very impressive. you know it’s a great vfx when you can’t recognize it’s done by vfx.
Interesting. I wonder if you've shot the interior scenes also without the characters, to partially use those over the cameras , or did you paint them out and recreated the background digitally?
i definitely believe that it's the former.
Considering his speech at the Oscars, Glazer is a nominal Jew, with no close connection with the State of Israel and the people he should respect, the israelis.
Who cares ? He wants peace
@@GellertTV When you look at Gazans and Iranians, and at some other islamic countries and their authorities, wanting peace is a very fragile way of thinking.
Jews are the zone of interest.
Having a clean plate gets you far from the very start, imagine not having it? a small nightmare I would guess
Incredible work on an incredible film. I love that there's no description for what was done in each shot, it's left for us to see and pick apart. The use of objects and actors as a wipe for before and after is great. Understated VFX with understated breakdowns for an understated film.
This is the sort of VFX that I think everyone can appreciate and enjoy even if ur often protesting the use of CGI in movies nowadays, the way wirework and cameras can be hidden within a shot and the way backgrounds can be made perfectly period-accurate is really helpful in a day and age where our cities and environments look increasingly different from how they used to, especially just every-day technology that might be in the background of shots.
i thought they filmed on location ?
They filmed in the same area but not at the actual camp or at the real höss residence (I doubt Auschwitz is open to let film productions use it for obvious reasons)
@@Tardsmat They filmed it in a house right next to Auschwitz, and there actually are shots of the museum in the film, albeit in a more documentary fashion.
The house used in the film was 4 houses away from the real Hoess house. It had the same orientation but the camp wall and buildings were not there, hence the CGI. Go to Google maps to see both houses. The street views show the set walls built for the movie.
@@eurouc got it ! But why not film directly in the real house, I know they wanted to make the film as realistic as possible ?
@@THENIGHTWALKER268 They wanted the house to look as new as possible. The actual house was not only occupied but was showing its age. The similar house chosen, only a few meters distant, was abandoned. They were able to renovate the interior and exterior to make it look “newer”. My only question revolves around the greenhouse. Looking at satellite views, it appears the greenhouse may have been (and still remains) in an adjoining plot of land rather than in the garden itself.
I've wondered why the bathing suits in the very beginning were all painted black. I could be wrong, but it looks like some work was done on them to make them look that way. Amazing CGI work here.
Robert Downey Jr. "Yeah I don't see any Asians in my eyes and am not interested in them." Hollywood and famous companies support Israel, the world hasn't changed at all.
Why did they use so much CGI
Compared to many other film productions, that's a hell of a lot less CGI! You just can't build everything, so you have to fall back on that. For example, they couldn't shoot at Rudolf Höss' real house because it's privately owned, but they found a very similar house in the immediate neighbourhood where they recreated the garden and wall.
The fact that the Höss house is 1. Still standing and 2. A private residence rather than owned by the museum is insane to me. Who would want to live in that house?
@@theblah12 Either someone who doesn’t care, or someone who admires him.
@@DJKLProductions Cringing at the thought!
1:30 The original background features the Swastika flag, and they removed it.
But only the ones on the left side, but not those in the centre of the picture.
Wow
inspirering work
Glazer is à bastard
One of the best dragons I've ever seen in a movie. Fantastic work.
I recommend Amis's book. His writing truly is magnificent. Was hoping it would be turned into a film while reading it. Hope the film is even half as powerful.
You're probably going to be a little disappointed if you're expecting to see much of the book on the screen. It's an extremely loose adaptation. Great film though.
Masterpiece❤
Amazing work. Especially since the CGI "backgrounds" are basically the central visual elements of this film, therefore drawing a lot of attention to themselves (with all that short-lenses cinematography...). Congratulations for making the shots look so convincing!
Just some questions from an amateur like me, why don't the take out the cameras at the first place like in 1:13? Or are they shooting multi angles? Not sure if taking a few takes with just one camera would be better than paint everything out
They had multiple cameras-up to 10-running at the same time throughout the shoot, so that the actors could perform naturally and they could edit between angles with 100% continuity.
@@capitalt3977 Wow 10 cams! ok in that sense it's cheaper to "do it in post" then. The shots are mostly on sticks anyway. Thanks!
Der Film hat mir nicht gefallen. Er ist überbewertet. Es gibt wesentlich bessere zu diesem Thema.
Ich stimme Ihnen überhaupt nicht zu.@@edelgardschubarth4153
@@edelgardschubarth4153cool
Wow painting all these cameras and wires Out is a Ton of Work👍 respect to One Of Us an Incredible talented Company
The cameras are the easy part! It is all static so getting clean plates is easy! What is hard is roto work on the trees!!!!!
Why not just move the equipment out of shot before filming? 🤔
@@kinetsievarvenfloot1237 sometimes it’s too difficult to keep lighting, cables, c-stands, etc. out of a shot because it needs to be there to make certain set ups work. The same with the cameras, many of them are there to film the same scene from different angles and can’t be easily moved out of sight from each camera angle (if that makes sense). Basically, it’s much easier to vfx out the equipment so that they’re able to achieve the shots they want
@@RyanKhanna Ah okay. 👍
@@kinetsievarvenfloot1237 For this movie, they didn't want the crew to be visible all the time to the cast, so they installed cameras everywhere and communicated with the actors from another room
Love the lamppost wipe lol
Amazing achievement for the whole team
Absolutely flawless. Amazing use of CGI added to that harrowing sound design and cinematography just confirms my belief of what an absolute masterpiece this film is. 👏👏👏