The Edge - Netflix

The Edge was an American sketch comedy television series which ran on the Fox Network from 1992 to 1993.

The Edge - Netflix

Type: Scripted

Languages: English

Status: Ended

Runtime: 30 minutes

Premier: 1992-09-19

The Edge - Edge of Tomorrow - Netflix

Edge of Tomorrow (also known by its marketing tagline Live. Die. Repeat. and renamed as such on home release) is a 2014 American science fiction film starring Tom Cruise and Emily Blunt. Doug Liman directed the film based on a screenplay adapted from the 2004 Japanese light novel All You Need Is Kill by Hiroshi Sakurazaka. The film takes place in a future where Earth is invaded by an alien race. Major William Cage (Cruise), a public relations officer with no combat experience, is forced by his superiors to join a landing operation against the aliens. Though Cage is killed in combat, he finds himself in a time loop that sends him back to the day preceding the battle every time he dies. Cage teams up with Special Forces warrior Rita Vrataski (Blunt) to improve his fighting skills through the repeated days, seeking a way to defeat the extraterrestrial invaders. In late 2009, 3 Arts Productions purchased the rights to the novel and sold a spec script to the American studio Warner Bros. The studio produced the film with the involvement of 3 Arts, the novel's publisher Viz Media, and Australian production company Village Roadshow. Filming began in late 2012, taking place in England at Leavesden Studios outside London, and other locations such as Trafalgar Square and Saunton Sands. Nine companies handled the visual effects. The film was released in cinemas on the weekend of May 30, 2014 in 28 territories, including the United Kingdom, Brazil, Germany, Spain, and Indonesia. On the weekend of June 6, 2014 it was released in 36 additional territories, including North America (United States and Canada), Australia, China, and Russia. The film received positive reviews from critics and was a box office success, grossing over $370 million in theaters worldwide, the ninth-highest-grossing film in Tom Cruise's career thus far. A sequel, titled Live Die Repeat and Repeat, is currently in development.

The Edge - Visual effects - Netflix

Nine companies handled the visual effects for Edge of Tomorrow under VFX supervisor Nick Davis. Davis worked with the crew of The Third Floor on the film's previsualization process. Sony Pictures Imageworks (SPI) worked on the first two acts of the film and created over 400 shots, including photorealistic environments, battle scenes, and computer-generated creatures and characters. One major shot involved covering London Heathrow Airport with military troops, vehicles, and aircraft; SPI split some of the work with RodeoFX. Cinesite joined late in the production and developed 221 shots for ten key sequences, with 189 appearing in the final cut.

Designers created the alien Mimics to look different from any terrestrial animal. Davis and Liman favored an early model composed primarily of tentacles. SPI's Dan Kramer described its appearance as “heavy black spaghetti” and noted that the modelers faced a challenge creating the tentacled creatures. A technical animator created an Autodesk Maya plugin that made the movement of each tentacle independent. Since Liman did not want the Mimics to look “too organic or terrestrial”, Imageworks' artists devised the idea of making the aliens out of an obsidian-like material, “basically a glass that could cut”. Various debris was incorporated within the tentacles to give the creature a sense of weight and fast movement. The Alphas were given a definable head area to show their status as more sentient, while receiving a different color and a bigger size compared to the Mimic grunts. Cinesite created the mechanical Mimics used in the training areas, while MPC created the Omega in a digital environment into which the effects artists composited underwater footage filmed at Leavesden's water tank. Animators created digital versions of the battle suits, at times with the soldiers inside them. On the set a 3D scanner booth digitized the actors, while hand scanners captured the textures of the practical suits. Imageworks received pieces of the suits for reference. The company's library of reflection data on various materials helped enhance the armor's shading. SPI's crew created the base at Heathrow by merging the set at Leavesden with digitally altered footage from the airport; the film's drop ships, barracks and mess halls, replaced the existing aircraft. Framestore created the digital Paris and recreated it with photomodeling from three days of visits. Given that the city is a no-fly zone, Framestore's artists obtained their aerial images by climbing an 80-meter crane parked in the Louvre courtyard. The quadcopter dropships were based on the Bell Boeing V-22 Osprey that can tilt its rotors to fly as either planes or helicopters, while having a design closer to the Quad TiltRotor. Aside from the crashed ship on the beachhead and a gimbal set to depict the plane used by Cage's squad, the film used digital models for most ships. The computer-generated dropships had some of Imageworks' heaviest detail given the proximity of the actors to the aircraft in the camp scenes; the effects artists wanted to make sure the ships broke apart in a realistic way during the crashes. Prime Focus World converted the film into 3D in post-production using the same tools for the stereoscopy as in World War Z and Gravity. The company made use of scans of the cast's faces from film production while vendor Nvizible helped the company convert the hologram table used by Dr. Carter.

The Edge - References - Netflix