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    Home » Rising Sun Pictures Teams with Weta Digital for Fox’s “Alita: Battle Angel”

    Rising Sun Pictures Teams with Weta Digital for Fox’s “Alita: Battle Angel”

    By Artisans PRFriday, February 22, 2019Updated:Tuesday, May 21, 20241 Comment6138 Views
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    Image courtesy 20th Century Fox

    Studio collaborates on new film’s lunar battle and zero-gravity training sequences.

    Adelaide, South Australia -- (SPW) --

    Rising Sun Pictures’ ability to deliver amazing visuals is on full display in the 20th Century Fox’s new cyberpunk adventure film Alita: Battle Angel. Working in tandem with Weta Digital, the lead visual effects studio, RSP created breathtaking shots for two key sequences in the film, including a furious battle between soldiers from Earth and fearsome cyborg warriors known as Berserkers.

    Directed by Robert Rodriguez and co-written and produced by James Cameron and Jon Landau, Alita: Battle Angel centers on a young woman (Rosa Salazar) on a journey to discover the truth about who she is. Produced natively in stereoscopic 3D, the film is based on the best-selling manga series from Yukito Kishiro.

    Weta Digital VFX Supervisor Charlie Tait and VFX Producer Kevin Sherwood, collaborated with Rising Sun Pictures on the moon battle sequence as well as a second, equally complex sequence set inside a translucent satellite used to train cyborg fighters in zero gravity. For the former, RSP produced the lunar environment as well as spacecraft, weaponry and pyrotechnics, and integrated Alita and hero CG characters provided by Weta Digital. Although fully CG, the sequence looks photoreal with the moon environment rendered in precise detail and the action, including explosions and clouds of debris, calibrated to conform to real conditions.

    “We made the scene as accurate to real physics on the moon as possible,” explains RSP VFX Supervisor Tom Wood. “We replicated one-sixth gravity and no atmosphere, so when explosions occur, debris flies directly out and much farther than it would on Earth.”

    Integrating falling debris with the scene’s dozens of CG characters, all engaged in combat, was a formidable task. “To make the lighting and the swirling dust work properly, we created proxies of many characters, using curves and specs provided by Weta,” says Wood. “Our compositors employed every trick in the book.”

    Achieving a seamless, believable and exciting sequence required unusually close collaboration between RSP and Weta Digital. The animation and effects underwent continuous refinement from the initial phases of production through final delivery. As a result, assets were in constant need of updating or replacement. “We did a lot of testing in the early stages to ensure the smooth sharing of assets and renders,” recalls 2D Lead Jess Burnheim. “By the time shots arrived in compositing, the pipeline was so well-honed that the process was seamless.”

    The training sequence was produced in a similar manner with Weta Digital artists creating the characters and RSP focusing on the spherical, satellite, high-tech props and atmospheric effects. “Weta supplied a model of the training facility as well as the camera data,” says Wood. “We took their setups, developed their assets and integrated Alita and her instructor who are training with swords.”

    In this instance, the team had to simulate zero gravity, making characters and props appear to float freely in the translucent globes. “The weightless effect was keyed off of the animation and hair simulations from character work at Weta,” says Burnheim. “We enhanced it by creating an environment that is clean and clinical, with subtle light flares adding realism. We gathered reference material of other zero-gravity environments and studied how light reacts to edges and strands of hair, how it makes highlights bloom.”

    Again, there was considerable back-and-forth between the two facilities. “We maintained a shared schedule and shared targets,” notes VFX Producer Arwen Munro who joined RSP from Weta Digital last year. “That allowed both sides to track progress as we moved forward from work-in-progress and temp phases. The key was keeping lines of communication open and transparency in scheduling and targets. It went smoothly and we are very proud of the resulting images.”

    With sharing shots becoming increasingly in common, it’s important that facilities know how to align their pipelines and work cooperatively toward a common goal. “Working with Weta was a very positive experience from the start,” notes Wood. “There was a lot of commentary and things that needed to be changed right up to the last minute, but it was a very smooth run. We had a great time.”

    About Rising Sun Pictures
    At Rising Sun Pictures (RSP) we create inspirational visual effects for major studios worldwide. Our studio is home to exceptionally talented artists who work collaboratively to deliver incredible imagery. Focusing on producing the highest quality and innovative solutions, RSP has an extremely flexible, custom pipeline, which allows the company to scale up quickly and adjust its workflow to meet audience’s increasing demand for spectacular visuals.

    Our studio enjoys the advantage of being located in Adelaide, South Australia, one of the world’s most liveable cities. That, combined with our sterling reputation, and access to one of the largest and reliable rebates, makes RSP a magnet for film-makers world wide. This has propelled us to continued success and enabled RSP to contribute to a range of projects including Dumbo, Predator, Tomb Raider, Peter Rabbit, Animal World, Thor: Ragnarok, Logan, Pan, the X-Men franchise and Game of Thrones.

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    Rising Sun Pictures rsp.com.au

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    Crystel Newman
    Marketing Coordinator
    Rising Sun Pictures
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    Linda Rosner
    ArtisansPR
    (310) 837-6008
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    SPW Category:Visual Effects and Animation
    Tags:AlitaRising Sun Picturesvisual effects



    Topshelf Launches As Curated Music Resource For brands That Can Hear The Difference

    Monday, March 16, 2026
    Elad Marish & Michael Frick

    Today, brands have access to more music than ever before. Streaming catalogs boast hundreds of millions of tracks, and algorithms can surface many options in seconds. Despite this abundance, the work, the advertising, branded content, and digital campaigns meant to resonate with audiences increasingly sound like they were scored by the same invisible hand, pulled from the same subscription library, or using the same reference tracks.  Topshelf, announced by music executives Michael Frick and Elad Marish, is a direct response to that problem. Not just another licensing catalog. Not another discovery platform. Topshelf is a curated, rights-centered, creative infrastructure built from genuine artist relationships. The kind that took twenty years to build and cannot be replicated with a better interface. The roster reflects that premise. Topshelf’s catalog draws from artists and composers including Groove Armada, Donavon Frankenreiter, and Ubiquity Records, as well as work from Italian label Blind Faith Records and stalwart indie dance label Dirtybird. Not simply catalog acquisitions, they are relationships with artists, managers, and labels who trust where their music ends up and collaborators who have worked with Frick and Marish directly over the course of their careers. “The music and ad industry runs on relationships, but the bridge between those two sides has never really been efficient. Consolidation is creating a quiet brain drain across both industries. Topshelf is built to improve that, helping the right artists,... Read More

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