#Hitfilm pro 3 vs 4 movie#

So it is important to have a way to look at it with the directors and producers and everyone else involved with it.

We can shoot live-action elements, but they donвЂ™t really have a narrative function, or a visceral function, or an aesthetic or compositional function, until the animated elements have been added. вЂњSoВ in order to understand what an animated sequence or character is going to look like, you canвЂ™t really get a sense of that. вЂњRemember, are half animated and half live-action,вЂќ Ford explains. вЂќДЇord elaborates, adding that the projectвЂ™s previsualization team, led by Gerardo Ramirez ofВ Los Angeles-based company The Third Floor, was also crucial to editing what is, after all, as he puts it, вЂњa hybrid movie.вЂќ There were all sorts of challenges to tie all that together, and make sure that Jeff and I didnвЂ™t have to worry about anything that was going on outside our. вЂњThey shot some of the stuff in Imax and 65mm. вЂњWe had about 10 different styles of cameras going on this production,вЂќ Schmidt says. All the while, Ford and Schmidt had to attend to the primary narrative goal of directors Anthony and Joe Russo - to tell a tale about the intimate, twisting relationships between Steve Rogers/Captain America (Chris Evans), his original best friend Bucky Barnes (Sebastian Stan), and his partner in the Avengers, Tony Stark/Iron Man (Robert Downey, Jr.).Д«oth editors insist none of it would have been close to a success without a massive вЂњgroup effort,вЂќ as Ford puts it, in numerous categories, ranging from their assistants who designed an efficient workflow for them, to an innovative pre-visualization team, to the visual effects vendors managed by supervisor Dan DeLeeuw.

#Hitfilm pro 3 vs 4 movie#

But the hurdles Ford and Schmidt faced also included reams of technical and logistical challenges.ДЄfter all, the movie introduces a new Spider-Man to the world, along with the Black Panther character, connects back to the storyline of Captain America: Winter Soldier (2014), and foreshadows upcoming events in future Marvel films yet to come. But Civil War represents the biggest such film they have tackled in terms of its ensemble cast and winding narrativeВ involving political and personal machinations, which force an emotional and potentially deadly split down the middle of the worldвЂ™s most famous team of superheroes, the Avengers. Co-editors Jeffrey Ford, ACE, and Matthew SchmidtВ joined forces to cut the last two Captain America moviesВ and have previously worked on other Marvel superhero films.

There is an irony to the fact that the editors behind the tentpole blockbuster currently burning up the box office, about the trials and tribulations of a team of superheroes, were eager to emphasize the collaborative nature of making the film in the first place, when they spoke recently about their team for StudioDaily's Podcasts from the Front Lines series.