|
Post by veu on Jun 2, 2023 4:46:04 GMT -5
Source: www.badtaste.it/cinema/articoli/la-sirenetta-halle-bailey-jonah-hauer-king-foto-video/La sirenetta: Halle Bailey e Jonah Hauer-King pubblicano una valanga di foto e video dal set
Matteo Tosini 2 giugno 2023 alle 09:00 Cinema Articoli
24 maggio 2023 al cinema Recentemente Halle Bailey e Jonah Hauer-King hanno condiviso sui loro profili social una serie di foto e video provenienti dalla lavorazione de La sirenetta, adattamento live-action Disney attualmente nelle sale.
Potete vedere tutto il materiale nei post qua sotto:
In La Sirenetta, uscito nelle sale il 24 maggio, Halle Bailey interpreta Ariel assieme a Jonah Hauer-King (Eric), Jacob Tremblay (Flounders), Daveed Diggs (Sebastian) e Awkwafina (Scuttle), mentre Melissa McCarthy interpreta Ursula e Javier Bardem re Tritone.Photos and videos here: www.badtaste.it/cinema/articoli/la-sirenetta-halle-bailey-jonah-hauer-king-foto-video/
|
|
|
Post by veu on Jun 2, 2023 4:48:09 GMT -5
Source: www.womenshealthmag.com/uk/fitness/a44000448/halle-bailey-the-little-mermaid/The Little Mermaid's Halle Bailey's PT tells us everything she did to get so freakin' fit 'When I was filming, I was in the best shape of my life'
BY BRIDIE WILKINSUPDATED: 31 MAY 2023
Halle Bailey did not mess about when it came to training for The Little Mermaid. In an interview with Kelly Ripa and Mark Consuelos for Live With Kelly and Mark, Halley – who plays Ariel in the film – said she was in ‘the best shape of her life’ (all while dropping some big BTS secrets about the film – out 26 May, FYI).
Turns out, most of her underwater scenes were actually filmed with her in the air. ‘I went through a lot of mermaid training because I spent a lot of time on what you call a blue screen,’ she said. ‘So I would be in a harness and wires, basically, suspended in the air, and I would have to simulate the swimming motion.’
But she did eventually make it into water. ‘I was in the water for about half of filming as well, so it was a mixture of both,’ she says. ‘All of the water scenes that you see — the shipwreck, me saving Jonah [Hauer-King] — all of that was in a tank and that was so much fun. It was warm — thank goodness — because I hate being cold. I hate cold water.’
If you’re one of her 5 million Instagram followers, you’ll know that she doesn’t just train ahead of films – she’s always been big into fitness and often posts workout videos and pics, and she looks so freakin’ strong. Here’s everything we know about her exercise and diet routine, including more about her prep for The Little Mermaid.
1.Halle trains with a PT
For The Little Mermaid, Halle recruited Sana Shirvani, a personal trainer at London-based health and wellness optimisation facilities Until. Sana tells us a key part of their training routine was core work and 'strengthening Halle's neck muscles', since she spent so many hours suspended in the air, where she was also required to sing.
'Core strength is very different to a visible set of abs,' Sana tells us. 'It was important for the cast to look the part, but also be able to film for hours on a rig. As the Mermaids have no legs, they are heavily relying on their core and back strength to hold them up. This required a huge amount of abdominal strength as well as a huge amount of strength through their back extensors.
'They also need to be able to sing/dance and act whilst in the rigs. While the neck muscles are often overlooked in traditional strength training programs, they play a crucial role in providing stability, supporting good posture, and reducing the risk of neck-related injuries. We used a variation of neck isometrics and resistance-based methods, which involve applying resistance without actually moving the neck.'
Halle and Sana did strength and conditioning workouts five-six times per week to get Halle 'stronger, fit and agile', and Sana also helped Halle nail her nutrition. Besides implementing a balanced diet, she calculated Halle’s ideal calorie intake and macro splits for 'maintenance' (i.e. not losing or gaining weight).
2. Halle gets her workouts done early
In the same interview with Kelly Ripa and Mark Consuelos about The Little Mermaid, Halle added, ‘When I was filming, I was in the best shape of my life,’ she said. ‘It was like, intense, every day, 4 a.m. gym, then stunts, then get in the water; it was, like, a lot.’
You read that right – 4am starts. We’re not sure that’s a normal habit of hers and, as we always say, the workout schedule you can stick to is the one you should do (props to anyone who can sustain a regular 4am start).
Read what happened when one fitness influencer committed to 5am workouts every day for a week.
3. Halle does hot yoga
In a recent Instagram post, Halle shared that she’s big on hot yoga. She captioned it: ‘Hot yoga kicked my ***.’ There are plenty of rewards to be reaped by flowing from downward dog to dancer in a hot studio: 'The heat can alleviate joint stiffness, increase blood circulation, boost the immune system and release endorphins, which have been shown to ease pain', Genny Wilkinson-Priest, Yoga Manager at triyoga tells us. 'It is not only safe, it’s healing.'
4. Halle is consistent with exercise
In a Q&A video posted to her YouTube channel in September, Halle answered fan questions about how intense her training regime for The Little Mermaid was, and the hardest part of playing Ariel.
‘I was in intense physical training for three months, and then every single day I'd either be up on wires and a harness or I'd be in the water all day,’ she said. ‘It was super exciting but my body was like — that was probably the hardest [part], and the most in shape I've ever been in my life. That was the toughest part, I think — having to be that strong.’
And she doesn't miss a day. In another post on IG, she wrote: 'kicking monday’s ass today 💪🏽🖤.'
5. Halle sets herself goals
In February 2021, she shared that she’d been working on her strength, and took to IG to show off her booty gains. ‘been working really hard and feeling proud of my little gains 🥰🧁,’ she captioned it.
And in another post, she wrote: 'i’ve always felt i was too small but honestly proud of my progress..😇getting somewhere 💪🏽💜'
6. Halle does circuits
Halle often shares her workouts on IG Stories and, back in January, she filmed one of her intense circuit training workouts, which included weighted squats, box jumps, weighted side planks, and rotating hollow holds. Go Halle.
7. Halle is vegan
On the diet front, Halle and her sister Chloe previously shared that they’re both vegan, something they originally tried out to help their voices, and it stuck, they told Complex.
‘When we moved to L.A., it really became easy,’ Chloe said. ‘So many vegan restaurants and vegan aisles in the grocery store are like heaven for us!’
During BuzzFeed's Sister Test, they shared more about their favourite vegan foods. Halle is a fan of avocado toast, rice, and bread—and she totally has a sweet tooth; she loves vegan cheesecake, donuts, and pancakes. And both sisters are fans of this "perfect" vegan smoothie, made of raspberries, almond milk, blueberries, apple, agave nectar, and ice. BRB, off to buy the ingredients.
|
|
|
Post by veu on Jun 5, 2023 11:40:49 GMT -5
Source: www.byrdie.com/halle-bailey-the-little-mermaid-makeup-details-7505835 This Is the Exact Lip Combo Halle Bailey Wore in 'The Little Mermaid'
Her makeup artist broke down Ariel's full look. By Isabella Sarlija
Published on 05/30/23
There's plenty of movie magic abound in Disney's latest live-action release, The Little Mermaid. While the OG film was sketched out by hand, the latest rendition used CGI to bring the magical world to life. And while CGI was implemented to create Halle Bailey's flowing Ariel hair in the "underwater" shots, the rest of her glam relied on plain 'ole makeup—and we have details on every single product Bailey wore on-screen.
On May 30, Bailey’s makeup artist Kat Ali shared a carousel of shots showing Bailey in her glam trailer wearing her iconic copper Ariel locks under a headband. The photos offered a closer look at the makeup Ariel wears throughout the movie, including a shimmering bronze eyeshadow, satin cloud complexion, and classic nude lip. Ali says in the caption, “Some of you guys have been offering me your limbs for a breakdown, but that won’t be necessary,” followed by a full breakdown of the products she used on set.
The movie was shot both on a traditional movie set and outdoors in Sardinia, and in both instances, Ali prepped Bailey’s skin with the Glossier Priming Moisturizer ($24), Glossier Balm Dotcom ($14) on the lips, and an Avène eye cream. Ali says, “When shooting outside, I used the Black Girl Sunscreen SPF 30 ($19) under the foundation and on Halle’s neck.”
Bailey’s body glistened throughout the film, and Ali reveals that she used a combination of the Glossier Body Hero Perfecting Cream ($22) and the Weleda Skin Food Light Nourishing Cream ($20). Ali adds that the Kate Somerville UncompliKated SPF Makeup Setting Spray SPF 50 ($44) “was an absolute lifesaver shooting in 40 degrees Celsius [104 Fahrenheit] in Sardinia.”
For Bailey's complexion, Ali relied on a tried-and-true film favorite, the MAC Studio Face and Body Foundation ($39), as well as the Uoma Beauty Stay Woke Concealer ($25). She filled in Bailey's feathery brows with the MAC Eye Brows Styler ($21) in Spiked.
For eyes, Ali started by patting the Tom Ford Beauty Emotionproof Eye Color in shade Gigolo (which is sadly discontinued) as a base and then sculpted the eye with the Tom Ford Beauty Eye Color Quad ($83) in Suspicion. “ a mixture of the top right and bottom left all over the lid. [Then I used the] top left color as a spotlight, and the bottom right to create definition on the outer corners,” writes Ali. She adds that Bailey didn’t wear mascara throughout filming but instead relied on lash extensions applied by Blank Canvas Bovingdon Lashes while shooting in London and Libby Bushby while shooting in Sardinia.
Ali then used the Milk Makeup Lip+Cheek ($24) in the shade Quickie to add a flush to the star’s complexion before applying the Dior Backstage Glow Face Palette ($48) in Universal to highlight the tops of her cheeks. Finally, Ali lined Bailey’s lips with the Mac Lip Pencil ($17) in Cork before adding color to her pout with the Chanel Rouge Coco Flash Hydrating Vibrant Shine Lip Colour ($45) in shade 174.
Although movie makeup can seem daunting to apply, Ali reveals that she only used her fingers and a combination of Mac and Mykitco brushes to apply the look. The result? An easy glam that's as fitring for an underwater princess as it is a day at the office.
|
|
|
Post by veu on Sept 13, 2023 17:11:36 GMT -5
Source: www.rodeofx.com/project/the-little-mermaidTm1110 final 1035 wm VFX - FILM & EPISODIC BACK THE LITTLE MERMAID LOOK AT THESE GUYS, AREN’T THEY NEAT? The Little Mermaid marks another collaboration between Rodeo FX and Tim Burke, Overall Visual Effects Supervisor, after Fantastic Beasts and Where to Find Them, and Fantastic Beasts: The Crimes of Grindelwald. It also is the return of Rodeo FX to the Disney universe, more than a year after Jungle Cruise. Working on such a well-known and beloved story was a milestone in itself. But taking on the performance of Ariel’s ‘Three Amigos’ (Sebastian, Scuttle, and Flounder) was a unique challenge that pushed us even further.
Disney’s recent live-action remakes all commit to photorealistic elements with a little touch of magic. The animated forms of Sebastian the crab, Flounder the fish and Scuttle, now a northern gannet voiced by Awkwafina, needed to remain as faithful as possible to real animals while evoking a wide range of emotions and tics to support the performance of the voice actor behind them. This required delicate rigs and in-shot animations to carefully render the screen time of each character. Different approaches were developed to express emotions through pincers, extra legs and wings. The CG characters also had to be anchored in their environment, be it a boat in the middle of the ocean or the shores as they swim against the current.
The creature FX department was also highly involved in the performances, juggling feathers, scales, and beaks.
BEYOND THE INCREDIBLE PRIVILEGE OF WORKING ON AN ICONIC TITLE LIKE THE LITTLE MERMAID, IT WAS ALSO A GREAT TASK FOR US TO WORK ON THIS LEVEL OF CG ANIMALS. Oscar Carambano, Animation Supervisor
While the animation and CFX teams worked on the ‘Three Amigos’, the FX team was dealing with another challenge altogether: water effects. Some scenes had to be created in a full CG environment, pushing our teams to create boats and the sea surrounding them, down to the last waves and light reflection. Other sequences had us add more texture and ‘movement’ to the water, or even work on rendering the dreamy cerulean blue.
Rodeo was also lucky to work on the final shots of the movie, notably for the group shot of the entire merpeople community as they gather on the shore, combining water simulation and beautiful CG doubles for each merperson. But one that truly resonated with the team was that iconic final scene, as King Triton (played by Javier Bardem) turns Ariel into a human, finally accepting her choice. Carefully following the original footage from the original 2D film, our FX team once again stepped up and created that golden, magical effect.
|
|
|
Post by veu on Sept 13, 2023 17:12:37 GMT -5
Source: www.youtube.com/watch?v=3m2oTa00zPcDisney's The Little Mermaid - VFX Breakdown By Rodeo FX
Rodeo FX
1.102 visualizzazioni Première trasmessa il giorno 11 set 2023 #Scuttle #TheLittleMermaid #Ariel 🌊 Dive into the magical world of Disney's The Little Mermaid with our brand new VFX Breakdown! 🧜♀️
🦀 Get a behind-the-scenes look at the meticulous craftsmanship and attention to detail, that went into bringing beloved characters like Sebastian, Flounder, and Scuttle to life in this under(above)water adventure.
-
🌊 Plongez dans l'univers magique de The Little Mermaid de Disney avec notre tout nouveau "VFX Breakdown" ! 🧜♀️
🦀 Découvrez les secrets d'un travail méticuleux et d'une attention portée aux détails, qui ont permis de donner vie à des personnages adorés tels que Sebastien, Polochon et Eurêka dans cette aventure classique.
#TheLittleMermaid #VFXBreakdown #BehindTheScenes #VFX #MovieMagic #RodeofX #Disney #Ariel #Sebastian #Flounder #Scuttle
|
|
|
Post by veu on Oct 6, 2023 12:10:16 GMT -5
|
|
|
Post by veu on Oct 6, 2023 12:18:54 GMT -5
Source: www.youtube.com/watch?v=9vndy1O1ZHoThe Little Mermaid | VFX Breakdown | Framestore
Framestore
6 ott 2023 #thelittlemermaid #vfx #visualeffects
Framestore provided over 550 of visual effects shots for Walt Disney Studios’ The Little Mermaid, directed by Rob Marshall. Led by Visual Effects Supervisor Andy Kind, the studios across London, Montreal and Mumbai created Ariel’s underwater kingdom, the merpeople who live there (including Ariel, King Triton, and her six sisters), as well as her best friends Sebastian, Flounder, and Scuttle.
Read the full case study: www.framestore.com/work/little-mermaid?language=en
|
|
|
Post by veu on Oct 6, 2023 12:20:13 GMT -5
Source: www.framestore.com/work/little-mermaid?language=enThe Little Mermaid Walt Disney Studios
Framestore provided over 550 shots of visual effects for Walt Disney Studios’ The Little Mermaid, directed by Rob Marshall. Led by Visual Effects Supervisor Andy Kind, the studios across London, Montreal and Mumbai created Ariel’s underwater kingdom, the merpeople who live there (including Ariel, King Triton, and her six sisters), as well as her best friends Sebastian, Flounder, and Scuttle.
Fathoms Below “Preparations for the underwater environments began almost a year before we actually started filming,” states Kind. “Working hand in hand with our brilliant Art Department, we spent a long time developing virtual camera angles, figuring out how to translate a 2D shoot to a 3D environment.” The visual effects team collaborated with virtual production supervisors, who form what is now Framestore’s dedicated Pre-Production offering, Framestore Pre-Production Services (FPS).
“We got a great brief from Production VFX Supervisor Tim Burke on the look and feel of Ariel’s kingdom, but there was still a degree of freedom for us to interpret the designs, develop the underwater look, and establish a coherent world,” explains Environment Supervisor Dean O'Keeffe. “We also had to map out how those key locations fit together within the wider world, so it’s one cohesive environment instead of two or three separate sets.”
“One of the first challenges we encountered was building a large variety of 3D coral,” explains O’Keeffe. “As well as concept designs we received a number of coral 3D scans along with reference photography. From this reference it became clear that we needed a way to generate a large volume of different coral species, with varying complexity and a range of scales and shapes.” The team determined at an early stage that modelling and sculpting such complex shapes by hand was not going to be the most efficient or adaptable method to build the coral, so they developed a number of tools to generate the coral procedurally. The coral generation tools enabled the artists to modify coral shapes efficiently, with the high level of control that is essential when responding to creative notes.
“Lighting was another huge challenge for us, for all of the underwater scenes,” comments Visual Effects Supervisor Andy Kind. “It’s completely fictional laws of physics - in reality, light from the surface wouldn’t make it to the ocean floor, so we had to write our own laws which dictate the lighting, and how it would refract through the water.”
Part of Your World Ariel (Halle Bailey) is fascinated by the human world, and a keen collector of items from above the surface. She hides her collection from her disapproving father in a secret grotto, which famously acts as the setting for one of the film’s most notable music numbers, ‘Part of Your World’. When it came to designing the look of this space, Production Designer John Myhre drew inspiration from the sculpted walls of Antelope Canyon.
“Our first task was to identify the key features, such as the shape and form of the environment, and the textural qualities of the rocky surfaces,” explains Environment Supervisor Dean O'Keeffe. “We then experimented with the integration of this terrain, and recognisable underwater features such as sand, coral and underwater foliage.” As the environment developed, the team established the correct balance of these key elements to complement the features of Antelope Canyon, but set it apart as an underwater terrain. “It also had to feel different from the rest of the kingdom,” clarifies O’Keeffe.
The interior of Ariel's Grotto is an environment limited in space, which presented a challenge when positioning cameras and composing shots. The physical set was constructed in multiple parts, and this structure was replicated during the build of the 3D scene. Breaking down the construction of the Grotto into stages enabled sections to be hidden or even restaged depending on the shot requirements, and meant that the team did not have to build and maintain several different versions of the Grotto.
Dressing the Grotto required the placement of a variety of props, shells, barnacles, corals and moving foliage. “In addition to the placement of the dressing, it was important to have control over their speed of movement,” adds O’Keeffe. “The Environments Department was able to add controls to the dressing that allowed the speed of movement to be controlled easily and set independently between shots.”
Together, with Framestore’s Art Department and Visual Development teams, they created the setting, fleshing it out with over 600 individual props, to make Ariel’s collection.
The Three Amigos Central to the story of the film are Ariel’s three best friends, Sebastian, Flounder, and Scuttle. Translating the original 2D character to photoreal 3D characters presented a challenge for Framestore’s animators, in particular for Sebastian, as the 1989 animated feature sees him with exaggerated, humanised expressions. “It was definitely a balancing act, allowing him to be expressive, while also being realistic about what each creature could conceivably do,” expands Grillo. “The thing about Sebastian especially is that he’s so minimal, he’s a set of eyes and a body, but he’s able to give so much range during his performance - he’s an emotional character and you’re really able to see that all through his eyes, timing, and movement.”
“It was a similar journey for Flounder,” adds Kind. “We started out very close to the 1989 animation in terms of look, and ended up taking more inspiration from a sergeant major fish.”
Scuttle, Ariel’s bird friend, was slightly more straightforward. “As with all of Ariel’s friends we began with concepts, but Scuttle really developed through the iterations,” comments Kind. The animation team collaborated closely with Walt Disney Studios to establish the final look for Scuttle, creating a feather system within Framestore’s groom tool, Fibre.
While earlier renditions retained the cartoonish aspect from the original animation, the final version settled on a much more realistic look, somewhere between a seagull and a gannet. “Scuttle has a really lovely finish that adds another layer of realism to her,” agrees Grillo.
Dinglehoppers At The Ready “The team at Walt Disney Studios gave us a fantastic brief for all of the mermaids,” continues Kind. “Triton’s seven daughters each represent one of the seven seas, and so from the outset it was well-established that they would all look very different.”
Framestore’s studio in Montreal took the lead in building digital doubles for Ariel’s sisters, while the development of the hair simulation was shared between the studios in London and Mumbai. “It was really a global collaboration to make sure that we did these characters justice,” comments Kind. “The hair especially was such a big thing for us to get right, figuring out how these different hair textures would move under the water - as obviously, a strand in a very tight curl would have a drastically different movement than a strand of straight or wavy hair.” Once again, the team were inventing their own laws of physics, creating a complex simulation to allow all of the hair types to move naturally, without obscuring the performance of the actors.
“To meet the brief it was really just testing, testing and more testing, using various techniques and a suite of very good animations, to push the hair to the max,” explains Lead Creature Effects Technical Director Steve Sandles. “Then as we perfected the look and movement, we began to dive more into the detail of how the hair needs to move and interact with the characters.”
“Realistically, when we’re underwater, our hair wants to fan out and float. But that would be distracting, and not give the kind of visual we wanted,” explains Animation Supervisor Pablo Grillo. “So we added some weight to keep it floating, but held together, to give a stark contrast to when the character is in motion and the hair moves more fluidly. It’s about maintaining the magic - creating something believable, without shattering the illusion.”
“The Disney team loved our hair and fin simulations from day one, though just about every hair simulation received art direction notes, either for continuity or for dramatic purposes,” continues Sandles. “The technological advances in hair simulation enabled us to spend artist-hours where needed, using our skill and vision to elevate the final visuals, rather than doing tasks that could otherwise be (and were) automated.”
|
|