The visual effects studio helps realize the director’s unique vision, including the film’s climax featuring racing driver De-Portago's famous crash; the team tracked and mapped the CG Ferrari to the practical crash, dramatically launching it into the packed racetrack crowd, populated by digi-doubles.
The VFX studio tackled numerous large digital assets, creating the planet Hala and its vast city, taking it from brilliance to ruins, with the Sun’s initial luminous implosion and, ultimately, its miraculous rebirth.
The director and his VFX Supervisor, Jay Cooper, explain how they completely reversed the standard production process for his sci-fi epic, employing spontaneous live-action shoots that looked cool, not controlled, with 3D environments, digital matte paintings, and many other elements on the 1,600 visual effects shots designed afterwards, not before.
The studio delivers 590 shots across 20 sequences, including the prehistoric opening, the final battle, and loads of creature work on a T. rex, giant octopus, snappers, and megalodon triumvirate of Apex, Haiqui, and Bob, in Jason Stathom and Warner Bros.’ ‘The Meg’ sequel.
Production VFX Supervisor Artemis Oikonomopoulou talks ghosts, cryptic water messages, and 1947 Venice, along with lots of invisible effects – and some CG bees – on the director’s third outing as famed Belgian detective Hercule Poirot in the latest cinematic adaptation of an Agatha Christie novel.