As part of Hollywoods Master Storytellers series, three of the visual effects artist behind the Oscar-nominated work on WAR OF THE WORLDS shared some the films secrets. On Thursday, Feb. 16, 2006, at Manns Chinese Theatres Complex at Hollywood & Highland, f/x legend Dennis Muren, visual effects supervisor Pablo Helman and animation supervisor Randal M. Dutra answered questions about their work on Steven Spielbergs blockbuster alien invasion adventure.
One of the chief challenges the trio spoke about was the abbreviated schedule on the film, which was about a third less than they usually get. However, Helman credited the experience of the vfx artists and director as key elements in making the tight schedule work. Muren said that the schedule forced them to not spend extra time second-guessing their first decisions.
One of the surprising effects shots on display at the event was one that most people would miss. In the film, Tom Cruises character and his kids race down a highway, weaving in and out of stalled cars. The sequence seems like it was one long shot taken on location, but in reality the actors were filmed in the van on a bluescreen stage and the continuous shot is actually seven different shots combined using CG wizardry. Even something as simple as the windows in the van were CG, so that the filmmakers could control reflections as they wished.
When asked what the biggest advances were on the film, Muren stated that the film allowed ILM to update its pipeline, which still contained parts from when the company worked on THE ABYSS. The new pipeline is now easier and faster to use.
With the tight schedule, Spielberg utilized previsualization more than he has on any other film. Muren said that many of the more complex effects heavy scenes were filmed as they were prevised. Because Spielberg walks the sets to improvise shots for each of his films, effects artists were on set (actually holed up in the church at the intersection location) to work out shots that were thought up that morning. Helman stated that the on-set previs provided the crew with time saving data, such as camera height and lens size.
In designing the tripods, many variations were given to Spielberg for his approval. Once the final design was locked, it was up to Dutra and his crew to figure out how to make them move. He was thankful that he had a lot of thinking animators, who thought out what effect they were trying to accomplish and took ownership of their scenes. As is common with animation, Dutra said one of the chief challenges was making the tripods move fluidly, but retain a feeling of weight.
One of the tricks to make this happen was to add camera shakes when the tripods legs slammed down on the ground. All three artists discussed how finding ways to cheat effects is a skill gained through experience. For instance, during a shot where a tripod rises out of the water, a much bigger model of the tripods was used for dramatic effect. Muren pointed out that even though the film contains a lot of longer cuts, quick pans to where effects occurred actually resulted in certain effects shots only lasting three seconds even though they were part of a much longer take. The quicker the effects shot the more leeway the artists had to cheat.
Dutra added that the longer length of shots in the film actually allowed the animators time to develop character and behavior in the tripods and aliens. He said that the tripods movement had an aquatic feel while the aliens close to the ground movement was influenced by red-eyed tree frogs. Dutra also said that the choices made by the actors also helped the animators bring life to their animation, giving the example of Tom Cruises reaction to the alien probe in the basement scene.
As for what they are working on now, Muren is tackling a top secret test that he said if it goes well will be seen in theaters in the next few years. Helman is reading scripts and working on bids while Dutra is recharging his batteries by taking some time off to paint and sculpt.
Future Hollywoods Master Storytellers events take place on the first, third and fifth Tuesdays of each month. Tickets for all Hollywoods Master Storyteller programs at Manns Chinese are available at the Chinese Theatres box office and online at MovieTickets.com. Direct links to online ticket sales can also be found at www.HollywoodsMasterStorytellers.com, hosted by FilmStew.com.
Rick DeMott
Animation World Network
Creator of Rick's Flicks Picks
