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It was the iconic close-up shot of Dave in the slit-scan sequence. He had a screen grab from 2001: A Space Odyssey pinned to the wall. Kent Seki: On one of my first days on the show, I walked into John Nelson’s office. Of course, in the end, the audience just bought the concept. Kent Seki: In fact, we considered the shots of Tony’s face to be a composite ‘stitch’ of several small camera views inside the mask that create a virtual representation of Tony while yet another representation of the graphics are composited on top of that view. We didn’t know if it would work in terms of, would the audience believe it. So you put on a mask, and the mask is right up against your face, and then you’re going to cut inside of it and show you the face of Tony Stark inside of it with these three dimensional objects floating in front of it. John Nelson and I had many conversations, like, is this going to play? And we didn’t know. Wesley Sewell: There was a real concern that it wouldn’t work. When you stop and think about it, the actual camera that shoots Tony exists inside the mask, but allows these graphics which really only appear in the eye-piece of the helmet to be projected in 3D space around his face. Their success in the film required the audience to take a leap of faith that as the action unfolded, you could cut to these ‘high-concept’ shots of Tony’s face inside the suit.
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were a risky proposition at that time, when you consider them on face value, no pun intended. Kent Seki (visualisation/HUD effects supervisor, Pixel Liberation Front): The HUD shots of Robert Downey Jr. The camera would swing around, we’d bring another graphic that would swing around like that while he’s talking about it as if he’s directing it verbally. would look left, we’d bring something in left, he’d go right, we’d bring a graphic in right. One of the big concerns that the studio was having was, what’s that going to look like when you go inside the mask? What’s it going to look like when you get into the HUD, and can you actually believe it? Early Iron Man HUD concept.
SIRON MAN ARMOR CINEMA GRADE MOVIE
People weren’t sure the movie itself was going to work, and who really was going to care about this sub-Marvel character named ‘Iron Man’? But obviously it’s now legend. Wesley Sewell (additional visual effects supervisor, Iron Man): A lot of things about Iron Man were a very big unknown back then. John Nelson (visual effects supervisor, Iron Man): The key question was, how do you get inside the helmet but still have this virtual environment that feels organic? We were trying to get an organic conversation going between his A.I. On the tenth anniversary of Iron Man and with the release of Avengers: Infinity War, I asked several members of that original HUD creation group how they made a visual effect for the ages. But the final results speak for themselves. What should it look like? How would it work? How would it be created? Initial positive results by visual effects studio The Orphanage hit a stumbling block part-way through post-production, and a decision to adopt a new compositing system also required a steep learning curve. While the creation of the original HUD in Iron Man certainly paved the way for future designs, the task would prove to be incredibly challenging for the film’s visual effects team. Some might say, too, that the original designs from the 2008 Jon Favreau film influenced many HUDs in other different movies.
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The HUD is seen inside the helmet of the different ‘Marks’ of the Iron Man suits and in the Iron Monger suit worn by Jeff Bridges’ villain Obadiah Stane, and of course in subsequent Iron Man and Avengers outings. as Iron Man, and one thing that is certainly still in the mind of many audience members is the hero’s heads-up display, or HUD. It’s ten years since the world got the first taste of Robert Downey Jr.
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It changed HUDs forever – members of the original Iron Man HUD design group look back on the work