Brenda peterson growing up game skin#

“When you first hear the name of the movie, everyone assumed that it was a working title,” Hollander admits. Simple head turns, slight angles and extra light kicks, as well as textural components like blood and dirt, helped to shape the shot.”įinding reference of black bears is not hard, but reference of one experiencing a high is a whole other thing. That was hard for the animation and lighting teams to give her shape, but your eye wants to tell you that there is no shape. Observes Hollander, “If you see a side profile, Cokey is unmistakably a black bear, but when she stares towards you, the snout foreshortens, making her look like a fat husky. Sometimes we had to accentuate her form so that the light could catch and give us the shape and performance that were needed.” Black bears have a distinct nasal bridge. Stage three is she swam in a river of blood and looks terrible.

Stage two is little bits of dishevel and blood. mark, which is within the upper range of what is feasible,” Hollander states. “We estimated Cokey to be around the 500-lb. Placed in charge of digitally creating the drug-induced antagonist leaving behind a trail of carnage was Wētā FX Visual Effects Supervisor Robin Hollander, who had to produce 468 shots over a period of two years. This included adding baby kicks to pregnant bellies, muscles flexing on the legs of birthing women and vaginal tears during birth.” As a final ‘realism pass’ we added motion to every prosthetic element. Our approach was always to use as much of the prosthetic as possible to ensure proper interaction with the filmed elements, but then add parts of the digital baby, like moving arms and fingers. We worked with the team at Hi-Fi 3D to rebuild a CG baby that could replace the baby as shot. For other shots we replaced babies with CG. We got away with a lot, even animating mouths opening to cry, all using grid warps and shadow animation. As long as the babies moved a little bit, they looked alive. We made the babies breathe by animating the chests and necks using grid warp tools. “For some shots, we dramatically improved realism by applying 2D animation onto the plate. “Because they didn’t move, they sometimes looked like stillborn babies,” Gaddie says. The prosthetic babies looked incredibly real. We also added fat simulations on the wounds because the movement of the fat layer was a crucial element in our reference and was absent in the plates. When the belies were sliced open we created blood sims and used geometry nodes in Blender to simulate opening flesh and skin. This included the blood and yellow iodine around the cuts. We then added surgical elements for all the C-section footage.

Brenda peterson growing up game skin#

We added photographic elements from actual pregnant bellies to the prosthetic bellies that included all the skin detail, stretch marks and bruising that made the final shots feel so real. We ended up re-texturing every prosthetic to more closely match the visual reference we collected. Skin, fat and muscle move differently to silicon, especially when cut. We started by fixing all these issues and making the prosthetics move naturally. For example, a prosthetic vagina designed for birthing a baby still had a huge rigid opening after the baby was delivered.

“The main problem with the prosthetics was that they looked great in still moments, but didn’t hold up in motion and couldn’t work for entire shots. “The births were all filmed with very elaborate prosthetics that got very close to realism most of the time,” Gaddie details. The birthing sequences presented a great case for the perfect marriage of in-camera SFX with visual effects. We then stabilized them and made some new volcanoes by bashing some clips together just to have everything ready.” It was quite remarkable how much detail we could get out of SD footage and even old tapes. The quality in some would not work on a Netflix show, so we were lucky that we had Topaz Video AI to upscale the clips. Most of the volcano clips that we got were quite old, noisy and handheld. We needed to have volcanoes, ash plumes, lightning and a bunch of cloud layers ready to go. We used our prep time to sort our asset library. We then finished all the simple ones quickly so we could plan our time for the hard ones and meet our deadlines. With this project, we decided that we needed to have a really simple and fast pipeline, so we started to organize the shots into easy and hard tasks. “Before, we all worked together on LazyTown, and there we often needed to deliver over 200 greenscreen shots per day, so we used that experience in Katla. “We were the vendor studio for the project, and even though we were only three artists we were really effective,” Arinbjarnarson notes.