These days there are many bad images generated by PC (CGI), from CGI monsters that missed the tag to The true abimal digital effects in the "Exorcist: Wernder" in 2023. But like any passionate viewer of the VFX Artists React series "VFX React", there are many stunning things that are done with CGI. Jameseims Cameron "Avatar: The Water Road" includes a scene, so convincingly, leaves you to interrogate realityand there is no shortage of The elements of CGI falling on the jaw in the history of the franchisee "War of Starwives".

Often, because of the prevalence of CGI in modern film production, we do not have to think about the incredibly precise work that goes into creating such moments. For example, take "Game of Thrones". In the show as epic and effects-loaded as the HBO Monster Hit series, you may expect VFX artists to have trouble making various fantastic creatures of the series or great landscapes. In reality, however, the big problem was the legs. Specifically, the legs of Emilia Clark.

Indeed, without any fault of his own, actor Daniers apparently did not cause the end of headaches for the "Game of Thrones" team VFX. Why? Because they understood their ingenious solution to showing the princess of the Targaryen house as driving the dragon was not as foolish as they initially thought.

After the start of "Game of Thrones" as a persecuted princess, Daniers is developing all over the series to become the queen, winning Slaver Bay on the road and renamed it to the Bay of Dragons. Of course, part of that journey involves the mother of dragons, in fact, begins to fly to her winged companions, The Game of Thrones crew promises "747th dragons" For the seventh and penultimate season of the show. As the Pixomodo VFX supervisor recalled, Derek Spears in an interview with 2019 VultureGame of Thrones seasons 6 and 7 marked the beginning of the Daenerys flight exploitation, which presented several unexpected VFX challenges.

Although it may sound like a pretty simple task in the CGI era to make Clark drive a flying dragon, it has actually proved to be more complex than you think. As Spears explained:

"One of the things we learned, making Season 5, was that when they flew from the arena, it looked a little simple, because the cameras didn't move. We thought, well, next season we should move the cameras more and move it more."

To create this effect, Spears and the team used a wooden Buck as a stand-in-the-turn for the dragon, which Clark would be sitting at the top, while the show's crew understood all camera moves and movement control. Unfortunately, there was almost fatal disadvantage in this plan.

Using a large tree hunting as a fake dragon may seem like a decent solution to display Clark on one of its flying Astswerers. But, as Derek Spears explained, a pretty big question soon rose:

"What we found out is that the dragons are not like solid pieces of wood. They move, and when they move, they are flexed, and their muscles are also moving. So, we had the flying kite and the muscles were moving - but Danny's legs didn't respond to any of it.

In CGI history, there were certainly more complex tasks than replacing the actor's feet with digital counterparts. But the troubles happened with a pure amount of shots that demanded digitally manipulated Daniers' limbs. Spears continued:

"We ended up replacing her legs on so many shots just to follow the muscles of the traps on the back of the dragon. It was a nightmare. Everything else in those sequences was easy compared to trying to make her sit on the stupid dragon with her stupid muscles. It responds. "

The biggest problem seems to have been Clark's knees, which would slip through the surface of the dragon, immediately distracting from the effect. According to Spears, that "a small detail was probably half of the paper that entered those shots". Fortunately, the show's crew gathered and things worked. It's shameful The same cannot be said about the last season of "Game of Thrones", However.

No matter how much Clark's legs be replaced with CGI for the VFX team, the fake dragon driving actually was not easy for the actor. In an interview with 60 minutesClark remembers the first time he shot such a scene while sitting on a "hard green shell" that is "hand -driven" - something like a mechanical bull that demanded that the crew actually move. The actor talked about what he was trying to convey the magnificence at the moment, but is struggling with the limited technology that was given. "This is this magical moment for this character," she remembered. "I am in one with my animals and I can take the world. I fly, everything will be amazing. But in the truth, you are like (mimicry movement of horses) and people look like they look like," it looks weird. "

However, soon, the production team developed new equipment for Clark, which was much larger and, as the actor explained, was divided into four parts that all moved independently. Instead of being manually operated, this new version was controlled by what Clark described as a "joystick", with the operator sitting on setting up to move the refrigerator in real time. Meanwhile, the VFX team mapped the dragon's movements, even to breathing, with Clark recalling how Told was told to "distribute the dragon" while sitting on the spoon. As silly as it may sound, it goes back to the VFX team's questions by matching the actor with the movements of the CGI dragon, and he was clearly designed to prevent them from having to digitally manipulate Clark's movements by the fact - which, as we know, it is not less than a nighter. However, in fact, the action in these scenes sounds like a great challenge in itself. Clark, who was talking about there One thing she would change during her time at Game of Thrones (No, weren't the dragons), she remembered that he had to learn how to rethink the dragon's movements. "Because I am technically I do the drawing (move)," she explained. "So then you are like," Wait (...) there are 26 moves there, you want to rename it all and speak Dotraki ... Okay. "

As if all CGI problems and practical effects were not enough, Game of Thrones artists also had to use a number of other techniques to bring the Game of Thrones dragons to life. In behind the scenes Fuck youVFX floor supervisor Eric Carney explained how there were two types of spoons of cameras used for dragons. One was known as the "Spider-Cam", which was essentially "a camera set up to a cable that ranged between two building cranes" that could fly through battles at a speed of up to 70mph. The other approach involves the use of high-tech drones from a company called Flycam, which recorded super-skilled footage over which visual effects could overtake digital dragons easier than working with standard drone cameras.

Things have become even more complicated for the stage 7 episode "Out of the Wallid" in which Daniers flies to save Jonon Snow (Keith Farrington) and his group of soldiers from the frozen lake. As VFX producer Steve Culbeck explains, in Featurat, the team "modeled the dragon, and then laser reduced this complete giant piece of polystyrene to create part of the dragon's back." This equipment, which was much larger than the one used for Clark's solo rides, allowed Snow's clan to act by jumping on the Drogon ship. But just like everything else, related to the Dragon of Game of Thrones, none of it was easy, with actor Sandor Klegan Rory McCanne said while he was on the set, "I have a little climb to make that contraction with my shoulder person. I just hope I can do it." Of course, just like VFX artists, he managed to overcome the difficulties and the last scene became one of the most famous Forgotten moments in "Game of Thrones".