Before you see Tom Cruise’s ‘The Mummy’, re-visit the digital make-up, mocap and other VFX innovations from the 1999 film

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Illustration by Aidan Roberts.

You’ve got a character that needs to be desiccated and completely non-human in its position but has to be believably human in the way that it moves. Well, that’s motion capture in a nutshell.John Berton Jr., ILM visual effects supervisor, The Mummy

In 1999, director Stephen Sommers’ The Mummy burst onto cinema screens with visual effects from Industrial Light & Magic. The film’s fun-natured approach to what had previously been a horror genre of ‘mummy’ films was welcomed generously by audiences. As were ILM’s VFX, which took advantage of new approaches to motion capture, particle sims and CG.

The visual effects supervisor was John Berton Jr., who would go on to supervise the film’s sequel, The Mummy Returns, and Men in Black II at ILM, before becoming a freelance supe on films including Charlotte’s Web and Bedtime Stories. He is now a visual effects supervisor at Lytro, exploring the world of light fields.

With a new Mummy film about to hit, vfxblog went back in time with Berton to see how ILM conquered then-new challenges and how visual effects were very much part of the storytelling process in Sommers’ adventure. And in a special bonus addition to this interview, ILM’s visual effects art director on The Mummy, Alex Laurant (now principal art director, Microsoft / Windows Experiences), has generously provided a wealth of concept art, storyboards and other imagery from his work on the show.

Continue reading Before you see Tom Cruise’s ‘The Mummy’, re-visit the digital make-up, mocap and other VFX innovations from the 1999 film