Rotoscoping and editing individual elements are the focus for Image Engine in their work on the animated series, Avatar: The Last Airbender.
In the world of high-end visual effects (VFX), Boris FX Silhouette is a professional software widely recognised for its capabilities in rotoscoping, paint, tracking, and compositing tasks. The software is often used to assist artists in creating precise masks, removing unwanted elements, and integrating computer-generated (CG) imagery with live-action footage.
Recently, the Vancouver-based Image Engine studio worked on Netflix's adaptation of "Avatar: The Last Airbender," a series renowned for its sophisticated VFX work. While Image Engine's contributions to this project are well-documented, there is no direct confirmation from search results or announcements about the specific usage of Boris FX Silhouette in this production.
However, based on the nature of the VFX work required and the skills that the Image Engine team depends on, it is likely that Silhouette played a significant role in the series. One of the most challenging sequences was the Katara/Pakku fight sequence in episode 7, which required detailed rotoscoping of actors, their items, props, and finer costumes crossing over volume screens.
The BG Prep team at Image Engine, consisting of 14 members, focused on roto and frame-by-frame paint as the most important skills they depend on in Silhouette. They spent approximately 10 months working on the project and completed over 700 paint and roto tasks with the help of Boris FX Silhouette.
The team used Mocha Pro inside of Silhouette to translate movement and Silhouette's RotoOverlay tool for spline alignment and motion blur review. Some shots in the Katara/Pakku fight sequence needed thousands of splines in Silhouette, making the software crucial for the project's success.
The project also had several retime shots that required fixing distortion and maintaining the original footage's look and feel. Silhouette provided efficiency and real-time playback for raster painting complex tasks, making it an ideal tool for such challenges.
Moreover, the new Retime ML node, released in June 2024, could have saved tremendous effort during the project. Boris FX's openness to engage with industry users and their willingness to adapt, refine, and finesse the software helped Image Engine innovate and create stunning visuals.
The studio's hard work and innovation paid off, as they received an Emmy nomination for Outstanding Special Visual Effects In A Season Or A Movie for their work on "Avatar: The Last Airbender." Thomas Schelesny, VFX Supervisor, expressed pride in the nomination, highlighting the team's hard work and dedication.
For more detailed information about Image Engine's work on "Avatar: The Last Airbender," their case study for the series is available. The project was a collaborative effort involving 225 members in multiple departments, demonstrating the sheer scale and complexity of the VFX work required for this series.
- The BG Prep team at Image Engine, who relied heavily on roto and frame-by-frame paint skills in Silhouette, utilized the software extensively for over 700 paint and roto tasks during their work on "Avatar: The Last Airbender."
- Silhouette's RotoOverlay tool, Mocha Pro integration, and real-time raster painting capabilities proved crucial for fixing distortion in retime shots, maintaining the original footage's look and feel, and managing complex tasks in the Katara/Pakku fight sequence, significantly contributing to the project's success.
