It was incredible trying to get the interactive lighting of the furnace in there and the smoke, and she’s coming out of the middle of it.” The only CG characters were shadow puppets. It’s the first time that you see her emerging from this smoke to talk to Manberg. Some of my favorites are when she’s in the basement at the school and smoke fills up around her. There are these light trails and vaporous black smoke, and she rises out of this swirling smoke. “All of that was done in visual effects as well. “Sister Helley is a hell maiden and can travel with this smoke beam” Abels states. Sister Helley goes through a literal transformation. It came into visual effects because we were filling in the background digital matte paintings and set extensions, and making sure that we had a throughline for the emotional color story that fit the language of the film.” Continuity wasn’t as much of a challenge there. The same thing would happen with winterizing a location or a burned down version of the brewery. “For example, when we see Kat’s house in her happy memory in the summertime, it’s beautiful and pristine,” Abels observes. We had to figure out a way to remove it from the edges to avoid having blue halos, but keep it in the shadows and colors of the costumes because we were so in love with the original photography.” Many sets were destroyed for the dilapidated versions. When we’re going for more blues and purples, we ended up keeping all of that beautiful blue spill from the bluescreen.
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“Father Bests’ funeral is the only time in the movie where we have saturated colors. “We had additional artwork to dictate the symbolic meaning of all the colors throughout the film,” Abels remarks. We had to cheat it because the stage is only so big, and you can’t take the walls and roof off.”Įverything built had concept art and was prototyped.
The math didn’t always compute, so there were challenges trying to get the wide establishing shot of the bridge. “Many of the sets that were built onstage had to be constructed at different scales, so they had to compute that math to plug into the motion control system so they could film the backgrounds at different scales than the foreground.
They would shoot the backgrounds clean without the puppets, and many times those shots had to be reassembled because there were different parts of the set that were removed so the animators had access, and the visual effects team had to put that all back together.” Separate passes were captured with motion control cameras. Obviously, there are always going to be rigs in all of these shots that need to be removed digitally. “If it got to a point where the seams were distracting, we did clean them up. “Seams were left in all of the shots because we wanted to see that charm,” Abels explains. Interestingly, facial seam removals were not a top priority for the visual effects team. Abels remarks, “We tried our best to compartmentalize environments or shots, but there were shots, like the Belzer rising sequence, which were challenging because we had to split amongst three vendors.” It was so refreshing after a long decade of strictly digital environments to work on something that you can feel the artist’s touch in every shot.” Visual effects can be found throughout the production, resulting in 1,568 shots featuring contributions by Windmill Lane, FuseFX, Distillery VFX, One of Us, Midas VFX, Firebrand VFX, Outlanders VFX, Labyrinth, Track VFX and an in-house team. My career has shifted to be more digital, but I started out wanting to do miniatures and physical sets. “Because we love Jack Skellington and his work it inspired my generation to go into this industry. “This was my second experience working with puppets and doing backgrounds for that, but working for Henry Selick, you’re like, ‘This is absolutely a dream,’” states Heather Abels, Digital Supervisor on Wendell & Wild.
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