How VFX decisions for shooting the mechs were made, and dealing with all the on-set, talent and vendor challenges along the way.
Today on the befores & afters podcast, we’re chatting to visual effects supervisor Lindy De Quattro about Brad Peyton’s Atlas, currently streaming on Netflix. In particular, I wanted to ask Lindy about coming up with the methodology for realizing those mech sequences featuring Jennifer Lopez in the mech cockpit. Lindy runs through all the considerations they went through in pre-production, ultimately landing on a motion base approach from SFX supervisor JD Schwalm, filmed on tight greenscreen setups. Some of the very practical considerations like having to shoot off the set, and dealing with other challenges like spending more than 20 days on the stage are things we talk about, too.
Lindy also goes into detail on the sharing of assets between vendors, including employing 2D artwork to get asset sign-off in the quickest way possible. She also breaks down the different contributions from vendors including Scanline, MPC, ILM, Territory Studio, Cantina Creative and Halon on the film. This is one of those chats where I think we really find out some important things about how VFX contributes directly to the storytelling, and I had a lot of fun chatting to Lindy.
This episode of the befores & afters podcast is sponsored by SideFX. Looking for great customer case studies, presentations and demos? Head to the SideFX YouTube channel. There you’ll find tons of Houdini, Solaris and Karma content. This includes recordings of recent Houdini HIVE sessions from around the world.
Listen in to the podcast below, and see some behind the scenes videos.
