We already had clear that Spain has become indisputable superpower of the comic mainstream United States. It is not only there that ours are triumphing internationally. By the Comic-with Malaga Many of those responsible for the VFX study were passed The ranch To break down its spectacular curriculum, and we had the opportunity to talk to two of its members, Isaac de la Pompa and Sofia Balestrini.
With your help We take the pulse of the state of the special effects in Spain and review its trajectory: The Ranchito was founded in 2004 by Félix Bergés and since then has become a European and global leader in VFX, with more than 200 employees. Among the films and series in which they have participated are ‘The Snow Society’, ‘A monster comes to see me’, ‘Jurassic World: the fallen kingdom’, ‘Game of Thrones’, ‘Stranger Things’, ‘The Mandalorian’ or ‘Westworld’.
All success races have a turning point, and in the case of El Ranchito, it was ‘the impossible’ of Juan Antonio Bayona. We ask how your meeting was with the director of ‘The snow society‘: “Bayonne had already worked with Félix Bergés in’ The orphanage ‘and had him again. The effects became very Old School, With real water, and the result was so good that they came to call us no less than ilm (George Lucas’s effect company) to make a projection of the film. “
What impressed so much to the geniuses of the effects of Industrial Light & Magic? “It was shot in a Valencia pool. We bought a computer specialized in making water, waves and that type of fluids, but there is not a pixel on the screen. The only thing we retouched was the foam of the top of the waves, which is a mixture of real image and effects generated by computer.” When the film opens, it sweeps at the box office worldwide. “And above all, the Best Supporting Effects prize of the visual Effects Society in 2013 wins.” And from there, El Ranchito’s phone does not stop sounding.
It is a before and after: “Before that, Felix had tried by all means to enter the American market, without getting it. An occasional interview, and nothing more. But the prize made the difference.” The prize and the price recognize: “Here we were more cheaper than those of Los Angeles. It was still a time when in Los Angeles there was labor (now everything is already democalized around the world), and it was much cheaper to take things to us.”
For example, ‘Game of Thrones‘. “Chapter eight of season five, which we were not sure how to dobut we accepted because Felix had a lot of value, he accepted everything. I would not have dared. “Before, from HBO they made sure:” They made us a previous exam, they sent us a plan of season 4 in which some skeletons came out and told us ‘take, animated, compose it and others’ “. They had courage, but HBO too: “Suddenly they had to get out of their comfort zone, put aside all the American, Canadian and English companies, and have a Spanish company that had not done a project of that size.”
When Ranchito had a good coil of international projects, important orders followed. ‘The Mandalorian’, without going any further: “There were effects that ILM did not give time to finish, and they called us. Above all we made ships of ships.” And he gave them chance to meet an idol: “And of course, we had call with John Knoll (Creative Director of ILM, responsible for the effects of innumerable films with the company since 1989), which is a very rare feeling, being in a videoconference with such a reference. “
The future of special effects
The next question is inevitable: How do you see the future of the sector, especially with the arrival of artificial intelligence tools? “At the moment there is no total change, but tools have appeared that facilitate the work, in microtheses that simply make the artist’s life a little simpler. For example, making a mask is a laborious task that before had to make frame by frame, and now there are models that do it automatically.” Nor is the panacea at the moment, they warn: “Then you have to retouch, you have to refine, but the progress is there”
“But in general,” they tell us, “there will be a paradigm shift, it is the absolute future. Some professions such as 3D modelers are going to die and they will have to convert to other things.” And yet, “there are limitations.” What kind of limitations? Techniques (“In some aspects that seem unimportant details when generating images, AI is still very green”), but above all legal and use: “Lionsgate has reached an agreement with Runway to feed with a 20,000 films of which they have rights and be able to generate new ‘legal’ productions with AI. It is insufficient, they need many more references to create something with meaning.”
That is to say, The current IAS are so sophisticated because they “cheat” in that sense: “Google and other IAS are based on millions and millions of references that take without permission, and that is why the videos are so sophisticated. We cannot do that, and legally we are now in anyone’s land.” Technology exists, the intention exists, but the logical legal maze of power or not being able to use images without permission is such a caliber that we may take years to see how this tangle is faded.
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