One of the pleasures of working for a master like Ridley Scott is that VFX are there to augment sequences that are always well-shot and edited with great confidence.
Usually, this makes the work of VFX artists feel more straightforward, and good planning can really make a difference allowing us to achieve great-looking results despite very compressed schedules.
Usually, this makes the work of VFX artists feel more straightforward, and good planning can really make a difference allowing us to achieve great-looking results despite very compressed schedules.
This was indeed the case for House of Gucci, which I joined for a final sprint of a few weeks whilst I was in the middle of Spaceman production.
Luckily, I’ve been previously involved in the definition of the methodology and kept an eye on the reference shooting.
So I could jump in and very efficiently finalise the shots.
Most of the events pictured in the film happened across three decades, from the ’70s to 1995, mainly between Milan and NewYork, but it was all shot in Rome during the pandemic.
So, the task was to fill blue screens with the correct locations appropriately brought back in time.
