Emmy Awards 2023: Exceptional Rotoscoping Work by Scanline VFX on Shadow and Bone
In the second season of Netflix's hit fantasy series, Shadow and Bone, the visual effects team at Scanline VFX faced a unique challenge: creating a visually stunning and immersive world filled with magic and monsters, all while maintaining a grounded, realistic aesthetic.
Boris FX Silhouette was a crucial tool in this endeavour, specifically used for rotoscoping and matte painting tasks. These tasks supported the creation of clean plates for the insertion of effects such as shadows, monsters (like Nichevo'ya the Shadow Monster), and magical environments. The precise frame-by-frame masking required by these tasks helped to seamlessly blend CGI with live-action footage.
Charan Mapatuna, the Head of Roto/Paint for North America at Scanline VFX for Shadow and Bone, led the team in using Silhouette for detailed roto and paint work. This work was critical in isolating characters and objects from backgrounds for seamless compositing, helping to integrate 3D animated shadow creatures and atmospheric effects into the live-action scenes of the show’s dark fantasy world.
Rachel Ulicny, the Rotopaint Lead at Scanline VFX for Shadow and Bone, was particularly proud of her work on the complex ship shots. After extensive roto work, these shots turned out beautifully, showcasing Scanline VFX's ability to handle complex, visually stunning effects.
The development of Alina's powers, including her sun-summoning magical abilities, was another significant part of the show. Scanline VFX was responsible for representing these effects, adding an extra layer of magic to the series.
The team's primary task was to develop and integrate the Fold, a magical fog full of monsters and lightning, into the series. The use of Silhouette was essential in the production of Shadow and Bone, particularly for its FX-heavy nature. The roto and paint tasks for sailing wire removal on ship shots with characters were particularly challenging due to long frame ranges and changing perspectives.
Scanline VFX's FX team, led by Yahnis Ventura, was responsible for representing the destruction of the Fold in the finale. The team's work on Shadow and Bone showcases their ability to handle complex, visually stunning effects while maintaining a grounded, realistic aesthetic.
In addition to the Fold and magical effects, Scanline VFX designed, constructed, and integrated several digital environment sets, including the Ravkan countryside and the First Army Fortress castle. These sets added depth and realism to the series, immersing viewers in the world of Shadow and Bone.
Scanline VFX's work on Shadow and Bone has earned them an Emmy nomination, a testament to their dedication and skill in creating a visually stunning and immersive fantasy world. VFX Supervisor Adam Balentine is proud of the team's ability to keep the fantastical, magical effects in Shadow and Bone grounded in reality.
In conclusion, Boris FX Silhouette was a key tool in Scanline VFX's work on Shadow and Bone, helping to create a visually stunning and immersive world filled with magic and monsters while maintaining a grounded, realistic aesthetic. The team's work on the series has been recognised with an Emmy nomination, a testament to their skill and dedication.
Technology played a significant role in the creation of the visually stunning world in Shadow and Bone, with gadgets like Boris FX Silhouette being essential tools for the visual effects team at Scanline VFX. The team used Silhouette for various tasks such as rotoscoping, matte painting, and roto/paint work, which helped seamlessly blend CGI with live-action footage.
