American Cinematographer - August 2014 - 60
◗
Bad Blood
This visual-effects sequence illustrates how visual-effects company Mr. X helped
realize a close-up shot of a medical examiner extracting a parasite from his wrist.
60
August 2014
American Cinematographer
tungsten Arri Mini-Cycs gelled with
Industrial Vapor and Opal Frost, along
with eight Chroma-Q Color Force 12
LED units that Lidon programmed to
pulse and change color.
The pilot episode alone required
some 200 visual-effects shots, which
were handled by the Toronto-based
company Mr. X. (Recently acquired by
Technicolor, the effects facility had
previously worked on the horror film
Mama, which Del Toro executiveproduced, and on designs and previs for
Pacific Rim.) Two or three members of
the Mr. X crew were always present on
the set of The Strain to assist with shots
that would require digital elements, such
as the 5'-long stinger tongue the
vampires use to drain their victims'
blood. Varese recalls, "We had to give
[the Mr. X crew] camera lens and height
information, and to minimize the post
work, we would put tracking marks on
the characters when the effects were
more complex."
Mr. X animated the pilot's opening shot, in which an image of what
appears to be a bloodstream dissolves
into an urban landscape, with the
Boeing 767 flying in from the top of
frame. The company's most bloodcurdling work, however, reveals The
Master in all his malevolent horror. On
set, the character was played by 6'10"
actor Robert Maillet, who wore a dark
hood and cloak fashioned by costume
designer Luis Sequeira, and prosthetics
created by creature and makeup-effects
supervisor Sean Sansom. However, as
Mr. X president Dennis Berardi
explains, "Guillermo wanted The
Master to have a spider-like walk, with
tentacles reaching out of him. We
created a digital double and used a
hybrid approach, where the close-ups
are practical and the wide shots in which
he moves are digital.
"We did a physical 3-D cyberscan
of The Master in full wardrobe,"
Berardi continues. "This captured the
real-world form and dimension of the
character and was the basis of our 3-D
model and textures, allowing us to create
a very accurate digital double."
➣
American Cinematographer - August 2014
Table of Contents for the Digital Edition of American Cinematographer - August 2014
Contents
American Cinematographer - August 2014 - Cover1
American Cinematographer - August 2014 - Cover2
American Cinematographer - August 2014 - 1
American Cinematographer - August 2014 - 2
American Cinematographer - August 2014 - Contents
American Cinematographer - August 2014 - 4
American Cinematographer - August 2014 - 5
American Cinematographer - August 2014 - 6
American Cinematographer - August 2014 - 7
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American Cinematographer - August 2014 - 9
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