Ant-Man and the Wasp utilises the latest in visual effects tech to bring its story to the big screen. But some of the most fun shots in the film also have some of the most low-tech effects solutions.
These are where Ant-Man (Paul Rudd) visits his daughter’s school with Wasp (Evangeline Lilly) to retrieve a hidden suit. Ant-Man’s new suit is malfunctioning, causing him to grow or shrink unexpectedly. At one point he has to hide in a broom cupboard now too small to hold him, and later he and Wasp appear in the same room passing a bag between them with Ant-Man only half-size. Finally, Ant-Man has to climb down some normal sized steps but at his now half-height.
There’s so much to take in at SIGGRAPH these days, but a couple of events are becoming absolute ‘must-sees’. One of those is Real-Time Live! which is an evening of on-stage presentations of real-time tech – ie. it’s live, and anything can happen.
In Ant-Man and the Wasp, a new character introduced in the film is Ava Starr, aka Ghost, played by Hannah John-Kamen. An accident has caused Starr to suffer from molecular instability, giving her the ability to phase through objects. She uses these powers against the film’s heroes in the hope of finding a cure through their quantum research.
It’s basically psychotic. It doesn’t have a mother. It has no sense of right or wrong and it’s a bit unhinged. – Alex Wuttke, visual effects supervisor, Jurassic World: Fallen Kingdom
The genetically engineered Indoraptor is a new kind of dinosaur introduced in Jurassic World: Fallen Kingdom. For the film’s effects teams, it was the opportunity to explore different creature behaviours, motion and emotion, particularly because ‘Indo’ was, as a result of his creation, somewhat of a neurotic dinosaur.
For on set, Neal Scanlan’s team built and puppeteered practical Indo pieces, while in CG, ILM worked on introducing twitches to the mentally unstable dino, which also had to have the ability to go from a biped to a quadruped. vfxblog sat down with ILM visual effects supervisors David Vickery and Alex Wuttke and animation supervisor Jance Rubinchik to talk through how they ‘found’ their Indoraptor character. Continue reading Finding ‘Indo’ – how ILM made Fallen Kingdom’s Indoraptor a different dinosaur
The sight of a brachiosaurus being enveloped in an ash cloud after the volcanic eruption of Isla Nublar – as several characters and other dinosaurs leave the island by boat – was a powerful moment in J.A. Bayona’s Jurassic World: Fallen Kingdom. vfxblog asked ILM animation supervisor Jance Rubinchik about the approach to that touching scene, which turned out to be a direct reference back to the original Jurassic Park.
Jance Rubinchik: Wherever we could pay any sort of homage to Jurassic Park, we did. It was always fun when we got the opportunity to. In that shot, you see brachi labouring down the pier towards the end as the ash cloud is racing towards her. She rears up and her head comes up just as the smoke is enveloping her. We lose her and we see her shadow through the smoke.
We basically lifted that moment from the original Jurassic Park where the first dinosaur we see is the brachiosaur riding up on her back two legs and plucking the leaves from the tops of the branches. That’s the first time that as an audience we get to see a dinosaur. So I thought it was great that the last time we see a dinosaur on Isla Nublar is taking it full circle back to brachi and we see her doing a very similar action – coming up back on those back hind legs.
When we had originally animated it, we were blocking it in and we had those ash clouds more behind the brachi. You’ve got that full moment of her coming up onto two legs and then the ash cloud sort of moved past her. So you kind of got that moment a lot more. J.A. wanted to be less obvious, he wanted more of that moment of the shadow projected through the smoke. So the effects guys just kept adding more smoke and more smoke and more smoke, until it got fairly covered up in the end.
Which was – it’s always a little disappointing on the animators side, when you do all this work and then it’s a little bit lost or obscure. But in the end, it’s all about what makes the story work and what has the most visual impact. I think J.A. was absolutely right in that call. It just really tugs at the heartstrings even more so.
Stay tuned to vfxblog.com for more Fallen Kingdom articles during #jurassicweek Mark II.
The final scenes of Fallen Kingdom, in which several dinos have escaped captivity and are now out in the ‘human world’, hint at exciting times to come. Two moments in particular stand-out: the sight of a giant Mosasaurus coming through a wave amidst a group of surfers, and a T. Rex roaring at a lion in a zoo.
“We gave Neal a 200 million polygon file from the T. rex at one-to-one scale. He started printing it but two days later he rang me panicking, going, ‘David, David. I can see poly faces! I can see the polygons in my 3D print! We need more resolution!’” – David Vickery, visual effects supervisor, Jurassic World: Fallen Kingdom
At one point in J.A. Bayona’s Jurassic World: Fallen Kingdom, the characters Claire (Bryce Dallas Howard) and Owen (Chris Pratt) find themselves in a shipping container with a groggy T. rex…which then wakes up.
It’s a thrilling scene, thanks to the close-quarters action, and one that involved a close collaboration between Neal Scanlan’s practical creatures and ILM’s digital visual effects, overseen by supervisors David Vickery and Alex Wuttke. That collaboration included the provision of digital models early on from ILM to Scanlan so that the practical and CG dinos would match as tightly as possible.
In my book, Masters of FX, I profiled 16 visual and special effects supervisors about their bodies of work. One of those was Ian Hunter, who, through Hunter/Gratzner Industries and New Deal Studios, has contributed a wealth of practical, miniature, and other effects work for large scale films and other projects.
Hunter supervised the miniature explosion of the federal building in The X-Files Movie, which celebrates its 20th anniversary this week. Back in 1998, the film featured a mix of practical and digital effects work, but the building explosion and subsequent partial collapse – which happens very early on – was easily the most spectacular scene.
Felix & Paul Studios is behind the ‘Jurassic World: Blue‘ VR mini-series available on Oculus Go, Oculus Rift and Samsung Gear VR headsets. They worked with ILM on the experience, and here’s a neat featurette on how the mocap was achieved. Look for ILM’s awesome animation supe Glen McIntosh!
I recently got to chat to Solo visual effects supervisor Rob Bredow about the film – you should be able to read various articles around the place, and I’ll post links to them at vfxblog.com. One of the standout sequences in the film is the conveyex train heist on Vandor, and Bredow shared his scouting, shooting, and miniature explosions process for bringing that incredible sequence to life. Check it out at the link below: