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Gli Effetti Visivi (VFX) di 'NAPOLI - NEW YORK" from Masked Frame Pictures on Vimeo.

Candidatura per i David di Donatello – Migliori Effetti Visivi (VFX)

'Napoli - New York', diretto da Gabriele Salvatores e basato su un trattamento originale di Federico Fellini e Tullio Pinelli, è un’opera cinematografica che combina la potenza narrativa del cinema con l’innovazione tecnologica degli effetti visivi. Ambientato nel 1949, il film presenta un viaggio straordinario tra Napoli e New York, dove gli effetti visivi sublimano la realtà, amplificando l’emozione e la forza della storia.

Il lavoro del supervisore VFX Victor Perez e del suo team composto da 167 professionisti ha dato vita a 534 inquadrature di VFX, per un totale di 63.560 fotogrammi (oltre 44 minuti del film), che hanno trasformato visivamente il film in un capolavoro tecnico e artistico. Ogni effetto visivo è stato concepito per servire la narrazione, rispettando il concetto di Fellini: "Napoli la conosciamo, New York ce la siamo inventata," offrendo una visione riflessa e poetica di questa città.

Ricostruzione storica e artistica: New York del 1949 è stata ricreata con accuratezza storica e con una forte influenza estetica derivata dallo stile di Fellini. Le architetture della città emergono come "riflessi" di un immaginario cinematografico, influenzato dai film della Golden Age di Hollywood. Tecniche miste per l'autenticità visiva: Le sequenze della nave, girate in un vero porto a Rijeka, sono state integrate con esterni digitali fotorealistici, realizzati con simulazioni fisiche plausibili di mare e vento. Crowd replication, CGI e bluescreen sono stati utilizzati per popolare la città e il viaggio transatlantico. Innovazione e machine learning: L’integrazione dell’intelligenza artificiale ha potenziato il lavoro creativo, permettendo un uso etico e innovativo della tecnologia per ottenere risultati eccezionali. Omaggio all’arte e alla storia: La sequenza iniziale del film, ispirata al chiaroscuro di Caravaggio e ai tragici ricordi del terremoto de L'Aquila, è un esempio di come il fotorealismo sia stato unito a un’estetica poetica e drammatica. Anche la polvere della scena rimanda visivamente al simbolismo dell’11 settembre, evocando una forte connessione emotiva. Economia narrativa degli effetti visivi: Ogni decisione tecnica è stata guidata dall’idea di "effetti visivi cost-effective", dove le limitazioni di budget non hanno mai compromesso la qualità artistica. Il team ha raggiunto un equilibrio perfetto tra tecnologia e creatività.

La capacità degli effetti visivi di fondersi armoniosamente con la fotografia, mantenendo un'estetica visiva che replica le lenti Technovision utilizzate per le riprese, è la prova della collaborazione straordinaria tra reparto cinematografico e VFX.

Con questa candidatura, 'Napoli - New York' celebra l’arte degli effetti visivi come parte essenziale del cinema italiano, dimostrando come l'innovazione tecnologica possa elevare il racconto cinematografico senza mai sopraffarlo.

Supervisione VFX: Victor Perez

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BEFORE AND EVER AFTER Teaser Trailer from Masked Frame Pictures on Vimeo.

Teaser trailer for 'BEFORE AND EVER AFTER' a feature documentary film about the creation of the visual effects of Academy Award® director Gabriele Salvatores' 'NAPLES – NEW YORK'.

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NAPLES – NEW YORK | Showreel from Masked Frame Pictures on Vimeo.

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NAPLES – NEW YORK | VFX Supervision of Compositing Work from Masked Frame Pictures on Vimeo.

Victor Perez's Compositing Work Highlights. More than 25 year of experience, working on a number of Hollywood films, including Christopher Nolan’s ‘The Dark Knight Rises’, ‘Rogue One: A Star Wars Story’, ‘Harry Potter and the Deathly Hallows’, ‘Pirates of the Caribbean: On Stranger Tides’ and ‘127 Hours’, plus many more. Considered a visual effects compositing guru, Victor was inspired by Star Wars in the cinema when he was a child, and went on to acquire his first professional job as a graphic artist at the age of 16. Victor started his career in the film industry as a photographer and digital compositing artist. He then work on collaborations as 2D technical director and consultant where developed a fine combination of both artistic and technical understanding of film postproduction and visual effects from a photorealistic point of view. Today he designs and oversees the process creation of feature film visual effects as VFX Supervisor.

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COMPOSITING | Showreel from Masked Frame Pictures on Vimeo.

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COMPOSITING | Showreel from Masked Frame Pictures on Vimeo.

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COMPOSITING | Showreel from Masked Frame Pictures on Vimeo.

Compositing Work Highlights. More than 20 year of experience, working on a number of Hollywood films, including Christopher Nolan’s ‘The Dark Knight Rises’, ‘Rogue One: A Star Wars Story’, ‘Harry Potter and the Deathly Hallows’, ‘Pirates of the Caribbean: On Stranger Tides’ and ‘127 Hours’, plus many more. Considered a visual effects compositing guru, Victor was inspired by Star Wars in the cinema when he was a child, and went on to acquire his first professional job as a graphic artist at the age of 16. Victor started his career in the film industry as a photographer and digital compositing artist. He then work on collaborations as 2D technical director and consultant where developed a fine combination of both artistic and technical understanding of film postproduction and visual effects from a photorealistic point of view. Today he designs and oversees the process creation of feature film visual effects as VFX Supervisor.

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ECHO | CGI & Compositing from Masked Frame Pictures on Vimeo.

ECHO is a story told in only 5 long-takes, all against green-screen with motion control not just for the main action but also for the mirror that is in the frame. We had one camera mounted on a high-precision motion control robot filming the image that is presented in the live action, and another camera mounted on a high-speed Cinebot for the reflection in the mirror, both shooting at the same time, all in one take.

The plot involves a girl interacting with a mirror in which her reflection is visibly a few seconds ahead in the future, or in the past. Her actions serve as both reactions and triggers using a continuous line of time making her interact with herself. 5 Scenes, each scene in one shot for a total runtime of seven minutes and twenty two seconds.

It was challenging to film the right contrast ratios and the lights in the right position to work for both cameras facing each other while getting the right amount of uniform green back to pull a good key from it, lighting from two directions and matching the background relative luminance with a lighting setup that was stablished by the live action 3D-projected environment shot before principal photography for reference and pre-comp’d live on set during the shooting by using a real-time render engine for live previz.

The Time Displacement, the effect of having the action of the image in the mirror out of sync and at different speeds while keeping the angle of reflection coherent with the point of view of the main action was done physically in camera handled by the motion control system. Since we were doing highly precise speed-ramps for the camera movements shooting at high speeds we also needed to be able to synchronise the robots to the shooting frame rate and action of the camera accordingly, so we developed a program with an in-house algorithm using Frame Triggering where the motion control system generates a triggering pulse for every frame taken by the cameras so we knew the exact position and time where every frame was going to be recorded for the relative reflection angle of a certain point in time of the main camera.

The whole action with the actress was choreographed and rehearsed for weeks before the shooting while designing an organic evolution of the camera movements and styles by simulating real rigs or handheld shoulder mounts for an organic look and a feeling of transitional editing in camera. In order to keep the scale and position of the live action elements in relation to the 3D virtual world a projector was installed on the ceiling of the Studio to project on the floor the orthogonal top view of the 3D software handling the scene, the whole Studio was photometrically-accurate represented at 1:1 scale in 3D, live.

A total of 11,738 frames of CG at 3K resolution. This would had been impossible to craft without the mixture of Science, Technology and Art.

Victor Perez: Director / Visual Effects Supervisor

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ECHO_BREAKDOWN_shootingSC2_H264_v02 from Masked Frame Pictures on Vimeo.

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ECHO_trailer_2_FullHD_cropped_H264_Vimeo_XX_EN from Masked Frame Pictures on Vimeo.

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The Making of the Virtual Cinematography of ECHO from Masked Frame Pictures on Vimeo.

ECHO is a story told in only 5 long-takes, all against green-screen with motion control not just for the main action but also for the mirror that is in the frame. We had one camera mounted on a high-precision motion control robot filming the image that is presented in the live action, and another camera mounted on a high-speed Cinebot for the reflection in the mirror, both shooting at the same time, all in one take.

The plot involves a girl interacting with a mirror in which her reflection is visibly a few seconds ahead in the future, or in the past. Her actions serve as both reactions and triggers using a continuous line of time making her interact with herself. 5 Scenes, each scene in one shot for a total runtime of seven minutes and twenty two seconds.

It was challenging to film the right contrast ratios and the lights in the right position to work for both cameras facing each other while getting the right amount of uniform green back to pull a good key from it, lighting from two directions and matching the background relative luminance with a lighting setup that was stablished by the live action 3D-projected environment shot before principal photography for reference and pre-comp’d live on set during the shooting by using a real-time render engine for live previz.

The Time Displacement, the effect of having the action of the image in the mirror out of sync and at different speeds while keeping the angle of reflection coherent with the point of view of the main action was done physically in camera handled by the motion control system. Since we were doing highly precise speed-ramps for the camera movements shooting at high speeds we also needed to be able to synchronise the robots to the shooting frame rate and action of the camera accordingly, so we developed a program with an in-house algorithm using Frame Triggering where the motion control system generates a triggering pulse for every frame taken by the cameras so we knew the exact position and time where every frame was going to be recorded for the relative reflection angle of a certain point in time of the main camera.

The whole action with the actress was choreographed and rehearsed for weeks before the shooting while designing an organic evolution of the camera movements and styles by simulating real rigs or handheld shoulder mounts for an organic look and a feeling of transitional editing in camera. In order to keep the scale and position of the live action elements in relation to the 3D virtual world a projector was installed on the ceiling of the Studio to project on the floor the orthogonal top view of the 3D software handling the scene, the whole Studio was photometrically-accurate represented at 1:1 scale in 3D, live. A total of 11,738 frames of CG at 3K resolution. This would had been impossible to craft without the mixture of Science, Technology and Art.

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The Making of ANOTHER LOVE Directing from Masked Frame Pictures on Vimeo.

Featurette about directing Victor Perez's short film ANOTHER LOVE.

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The Making of ANOTHER LOVE Directing from Masked Frame Pictures on Vimeo.

Featurette about directing Victor Perez's short film ANOTHER LOVE.

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The Making of ANOTHER LOVE Directing from Masked Frame Pictures on Vimeo.

Featurette about directing Victor Perez's short film ANOTHER LOVE.

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The Making of ANOTHER LOVE Story from Masked Frame Pictures on Vimeo.

Featurette about the story behind Victor Perez's short film ANOTHER LOVE.

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The Making of ANOTHER LOVE Crew from Masked Frame Pictures on Vimeo.

Featurette about the people involved in the filming process of Victor Perez's short film ANOTHER LOVE.

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The Making of ANOTHER LOVE Cinematography from Masked Frame Pictures on Vimeo.

Featurette about the process of creating cinematography of Victor Perez's short film ANOTHER LOVE. Cinematographer: Matthew Cooke