I think it's particularly impressive that we get to see the full body of the monster so early on in the film, especially in daylight as it interacts with so many extras without being hidden by anything. The number of shots that we see this monster and all the different environments that are run through, I think this is really impressive for the early 2000s. There's so many different clusters within the eyeball itself. Especially in the facial feature, there's such detail to it. It's whimsical in the scariest way possible. Kaitlyn: I really love the design of this character. Lizard: There's no need to stop me, Peter. I think sometimes it's a little bit too detailed, and I think it's making it stand out that this is a CG character. Within this interior lighting as well, we're really seeing the subsurface scattering of the reptilian skin. I think combining the specific actor's facial expressions in this reptilian, scalelike creature design, something about the eyes being so humanlike, I'm not sure if it's selling how menacing this character is.
CGI MOVIE EFFECTS HOW TO
I think this is a tricky visual problem to solve, of how to keep a human's skeleton, skin, and movement but adding just enough reptilian properties to it, with a tail and with the skin. The animation on the bear was done particularly well, paying attention to the main and secondary animation, right, with the limp that the bear has, where the eyes is looking, where is its gaze? I love the sliminess, the patterns on the skin, like we're not sure what's eating away at the skin. You just get enough details in the right places to really feel the weight of this bear, the size of it, and I think they did great work in terms of character design, really putting themselves into the realm of this movie, where everything is a little bit mutated within nature. But I think the lighting on this is superb of just kind of how it highlights the silhouette just as you're seeing the tips of the fur of the bear, right. Kaitlyn: Again, we're at nighttime, which gives it just enough of a wiggle room to hide any imperfections. And having two complex characters on screen, relying all on postproduction, I think they did a great job for the time that it is, but there's definitely an evolution of the creatures within this franchise.
And you can tell that it's not Harry as played by Daniel Radcliffe, but it is a computer-generated Harry. I also think we are so used to seeing humans, and one of the tricky parts about this scene is when Harry jumps on the troll.
CGI MOVIE EFFECTS SKIN
It's too monochrome in terms of the bumps and where the skin begins and where the jacket starts. We just saw in "Jurassic Park," you know, the scales, it has the sheen that we're really missing from this character right now. I think what was missing that might have sold this shot a little better is the amount of detail in the skin, right. So, right, this scene is very challenging, especially in the early 2000s. And you have the really complex issue of adding Harry on top of a CG creature. And then you have these kids that you have to take into relation with how tall and wide this troll is. You have the height of the bathroom stalls and the height of where the sinks are. There's lots of kind of boundaries, right, that the digital artists have to take into consideration. So, the cutaways, the three characters, whenever you're seeing part of the troll, right, whether it's leg or it's wooden bat, those were practical, but then whenever you see the troll in its full frame, that is a computer-generated creature. So, this scene with the troll, it did try to do a blend of practical and visual, like some of the other films that we saw, right. The pacing and the editing and the framing, each composition is just so masterfully done. This is a great example of a seamless blend of practical and CG, where you're not really sure where things start and where things ended.īut I think it's a great handoff. If I had to guess, there's probably wires to make the car flip over. rex's head and the teeth in relation to the kids and to the car, even to the flashlight with the eyes, you're really getting the weight of it. The beauty of having an animatronic on set is you don't have to really necessarily guess the scale, right, that's a given for you. So, one of the greats, Phil Tippett, you can definitely see all the attention to details him and his team put in, in terms of the texture, how the skin glistens in rain. It's so key to having actors to react to something and not have it just be, you know, a green ball attached to a rope or attached to a pole or something like that.
And I think what made it really special is having animatronics on set and using computer-generated graphics later on to enhance. This character became the landmark in which we measure so many other creatures that we're trying to bring back to life.
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