1/1/2024 0 Comments Cinesync tutorial“We relied on cineSync heavily during the backend of the post schedule, at which point we were ramping up and getting most of our shots through,” says Round. This is the exact kind of situation where cineSync is so useful – it saves a lot on travel!”ĬineSync was used almost every day in post on King Arthur, particularly towards the end of the project. “We needed to constantly review and check the material back-to-back to ensure everything transitioned correctly, no matter which vendor it came from. “It was a delicate process, as we had to maintain continuity between the two vendors, who were essentially building different parts of the same being,” explains Round. We could see it in real-time to discuss with the vendors.”ĬineSync played a large role in creation of King Arthur’s many mythical creatures, such as a nine-foot CG villain, whose creation was split between VFX vendors Framestore and MPC. “cineSync enabled us to review the material constantly, so we were always aware of the status of any given shot. “My duties involved managing vendors, making sure the shots came in on time and that the vendors had everything they need,” recalls Round. Round was in the thick of the battle on King Arthur from pre to post, helping to establish Ritchie’s new kingdom of myth and magic across all studios involved. Contributions also came in from MPC’s Montreal team, Method Studios in LA and Vancouver, Scanline in Vancouver, and many more, totaling nine different studios. Framestore stood as the lead vendor, operating out of both its London and Montreal studios. In other words, we could hit the ground running on King Arthur.”ĬineSync was key to making King Arthur’s VFX a reality, given the nine separate vendors involved in the process. “Thanks to that experience, we had an established, effective workflow in place for meeting with vendors, viewing material, and of course, using cineSync. “I came onto King Arthur in 2014, working with VFX Producer Alex Bicknell and VFX Supervisor Nick Davis, who I’d worked with on Edge of Tomorrow,” he explains. He teamed with Ritchie on King Arthur to breathe new life into the classic tale of swords, sovereigns and sorcery, corralling the project’s global VFX teams around a singular vision with support from cineSync. This is mythological Britain filtered through modern-day cinematic technique – not to mention some truly exceptional VFX, delivered under the watchful eye of VFX Production Supervisor Gavin Round (sadly not of the round table).īoasting a decade of experience in visual effects, Round has worked on numerous blockbusters, chalking up visual feasts such as Harry Potter and the Deathly Hallows and Edge of Tomorrow. Ritchie has driven a bolt of trademark energy through King Arthur’s folklore, the murky grasslands and staunch stone castles fizzling with the director’s verve. King Arthur: Legend of the Sword feels like the logical next step in Guy Ritchie’s career – after all, who better to direct a modern reimagining of King Arthur than British film royalty? Ritchie has spent years moulding rough and rugged England into whip-smart stories of sleazy charm, and Ancient Albion feels like home turf. The Sword and the cineSync: VFX of King Arthur
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