source： Prime Focus VFX (formerly Frantic Films VFX) lent its expertise in previz, digital environments, fluid simulation and high-volume particle rendering to complete 124 visual effects shots for 'G.I. JOE: The Rise of Cobra,' directed by Stephen Sommers for Paramount Pictures.
總理焦點視覺特效（原Frantic Films公司的視覺特效）傳授專業知識的previz，數字環境，流體模擬和高容量顆粒繪製完成124桿的視覺效果'特種部隊：眼鏡蛇的崛起，'導演斯蒂芬索莫斯為派拉蒙電影公司。
A large portion of these 70 shots were for the finale’s aerial sequence, which features a plane being eaten away by Nanomites, a bio-weapon usurped by evil forces that disintegrates metal on contact.
其中大部分在這70發子彈的決賽的空中序列，其特點是飛機被蠶食Nanomites，一個生物武器奪取了邪惡勢力的解體金屬的接觸。
According to Prime Focus VFX President and Senior Visual Effects Supervisor Chris Bond, “This sequence was particularly challenging because we weren’t relying on any aerial photography, which would be nearly impossible to shoot at these speeds. Instead, we opted to create nearly everything digitally – the plane, sky, clouds and the destructive Nanomites that eat away the plane.”
根據總統的主要焦點視覺特效和高級視覺效果總監克里斯債券“，這個序列特別具有挑戰性，因為我們不投靠任何空中攝影，幾乎不可能在這些拍攝速度。相反，我們選擇創建幾乎所有數字-飛機，天空，雲彩和破壞性Nanomites的蠶食飛機。“
In short, Prime Focus used footage of actor Marlon Wayans shot on set in a chair with only the practical cockpit around him, then digitally built the Night Raven plane including its inner-workings and engine, which are revealed as the Nanomites eat away the metal.
總之，總理用鏡頭聚焦設置在椅子的演員馬龍韋恩斯桿實際駕駛艙周圍，然後建立了數字夜烏鴉飛機包括其內在運作和發動機，這些發現為Nanomites蠶食金屬。
Visual Effects Designer/Supervisor Ken Nakada heads up the digital matte painting and 3D environment department in Los Angeles, along with support from Environments Lead Rob Ward, to create the CG sky and clouds using a combination of fluid dynamics, matte painting, CG simulation and particle simulation. Prime Focus also created missile contrails and built the White House and Potomac River entirely in CG.
視覺效果設計師/主管肯中田在洛杉磯數字霧繪畫及三維環保部門，以及支持環境鉛羅布區，創造天空用流體動力學的組合CG，磨砂畫，鳥苷模擬和粒子模擬。主要工作重點也造成導彈凝結，建成了白宮和波托馬克河完全CG模擬。
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