Originally published on I Design Your Eyes on 12/24/09.
This is second part of a two-part interview with Zoic Studios senior compositor Johnathan R. Banta, about creatures designed for the Fox sci-fi drama Fringe. Be sure to read part one.
The Lionzard (from episode 1:16, “Unleashed”)
In this first-season episode, anarchists opposed to animal testing ransack a research laboratory, but get more than they bargain for when they unleash a ferocious transgenic creature. Later, Walter faces off against the creature in the sewers.
Banta says, “It was a lion-lizard combination, a chimera of a bunch of different creatures created in a lab. This also went through the ZBrush pipeline. There were no maquettes done for this particular one.
“This was a full-digital creature; luckily it did not interact too tightly with any of the actors. It was rigged up and had a muscle system that allowed for secondary dynamics. The textures and displacement maps were painted locally. There was some post lighting to add extra slime, with everything done inside the composite.
“It was actually very straightforward in its approach. The challenge of course was getting it to be lit properly and integrated in the shot. Compositing was a heavy challenge, as there was lot of haze on the set, a lot of lens flares – not direct flares, but gradients from different lights and so forth. We did our best to match the color space of the original photography. I think it was very effective.
“Another challenge was the bits of slime; it had to have slobber coming off of it. So we actually shot some practical elements; we did some digital cloth elements, a combination of things.”
The Hand (from episode 1:12, “The No-Brainer”)
A seventeen-year-old is working at his computer and chatting on the phone, when a mysterious computer program executes. Strange images flash before his eyes, and the teen is drawn in, mesmerized. Something protrudes from the middle of the screen and impossibly takes the form of a hand. The unearthly appendage reaches forward without warning and grasps his face.
Banta explains: “This boy spends a little too much time on the computer, and a hand reaches out of the computer, grabs his face, and begins to jostle him around and melt his brain. Which is not unlike my experience as a youth.
“We made a series of maquettes and we photographed them, just different positions of the hand coming out; and we composited them into a couple of shots. At the same time the animation was being worked on in CG, so we could start previsualizing it and then composite it.
“A cloth simulation was used for the screen. The hand was coming out, and we would create several different morph targets based on that cloth simulation. There was a bone rig in there, so we could animate it grabbing the kid’s head. That’s some very effective work, especially when projecting the textures on. The side view of the hand coming out of the monitor is one of my favorite shots.
“What they had on set was a monitor made of plastic, and a greenscreen fabric with a slot in it [where the screen would be] – and they had some poor guy in a greenscreen suit shove his hand through and grab the kid on the head, and the kid wiggled around.
“So we had to paint back and remove the actor, whenever he was touching the kid; otherwise we would use a clean plate. But whenever he was touching the young actor, we would remove that hand and replace it.
“They were also flashing an interactive light on the young actor that was not accurate to what we were rendering. When the hand got close it would actually light up his face, because the hand was illuminated with television images. So we came up with a way of match-moving his animation, and using that to relight his performance. We had to match his animation for the hand to interact with him, but we also used that match move to relight his performance.“
The Tentacle Parasite (from episode 2:09, “Snakehead”)
A wet, shivering man frantically combs the streets of Boston’s Chinatown. Gaining refuge, he suffers incredible stomach pains. His rescuer puts on heavy gloves and uses shears to cut his shirt away. The man’s abdomen is distended and wriggling as something crawls around inside him. A squid-like parasite crawls out of the man’s mouth, and rescuer retrieves it.
“Recently we just did yet another thing coming out of a poor guy’s mouth,” Banta says. “This time it wasn’t just nice little potato-shaped slug — it was long and tentacled, had sharp bits and just looked pretty nasty to have shoved down your throat.”
But there was an additional challenge on this effect. “You were seeing the creature moving underneath the actor’s skin; the actor’s shirt was off, and he was wiggling around on the ground as he probably would if this were happening, like a dead fish. He was shifting all over the place, his skin was moving all over the place, and we had to actually take full control of that.
“So we did match move. We went to our performance transfer system, which essentially takes tracking information from the original plate and assigns is to the match move. There are no specific camera set-ups; it’s just whatever they give us, and we grab every bit of information from the plate that we can, and use that to modify the 3D performances. These were then projected onto animation that we used to distend the belly and so forth, and up into the throat.
“The creature had 18 tentacles. Ray Harryhausen, when he did an octopus, decided to take two of the tentacles off, because he wouldn’t have to animate those, it would take less time. We didn’t have that luxury. There was no way to procedurally animate these things, and it had to interact with the guy’s face. So we had the exact same challenge we had with the slug coming out of the mouth, that we had to take this actor and pull his face apart as well, and make his lips go wider. But this actor was moving a lot more, so the performance transfer and animation tracking was more challenging.
But I’m very pleased with the results. We used fabric simulations for the different bits of slime again.
Razor Butterflies (from episode 1:09, “The Dreamscape”)
A young executive arrives late to give a presentation. After he has finished and the boardroom empties, he collects his things, and spots a butterfly. It alights on his finger — and unexpectedly cuts him. The insect flutters by his neck — and cuts him again. After attacking a few more times, the creature disappears into an AC vent. The man peers into the vent just as a swarm of butterflies pours out. They surround him, cutting him all over his body — he runs in a mad panic, crashing through a plate glass window and falling to his death.
Banta says, “We tracked every camera in the scene and laid it out into one common environment, so we could reuse any lighting in any point in the scene. That gave us the ability to put the flock of razor-winged butterflies into the appropriate spot.
“A big challenge on its own was volume — controlling and dictating the flocking behavior, so the swarm would follow the actor, intersect with him in the appropriate parts and not intersect in others, and eventually chase him through the window where the would fall to his horrible demise.
“There was one close-up of a butterfly resting on his finger — it flew into frame and landed, it was brilliant – that was pretty straightforward in its execution. More often than not the hard part was controlling the sheer number of flocking butterflies, especially given our standard turnaround time.”
Banta is thrilled to be creating otherworldly monsters for JJ Abrams’ Fringe. “I like doing these creatures; I hope we get to do more!”