There’s the idea of the flying saucer and the shape of it. ![]() This was super helpful because, straight away, you start looking at different things. The one other thing that he mentioned that was immensely helpful early on was he just talked about the notion of origami. And how you go from one to the other, obviously, which was definitely the interesting part as well. Jordan said, how could we have a creature, an animal, that could look like a flying saucer that everybody thinks is a UFO? And then the other thing was, how can I then, later on in my film, reveal what it is actually? So he wanted to think of it as those two states the flying saucer state, and then an open state, if you will. And instead, that it’s actually a creature or an animal, something that is actually grounded in the animal kingdom that is thought to be those UFOs. What he asked us was, imagine that the lore of the UFO has nothing to do with little green men and flying saucers or stuff like that. He had a script that was very simple in a way. Léandre Lagrange: When we first got approached, it was to design a creature and to design the relationship to that creature with the skies. ![]() The team at Main Road Post worked closely with Ukrainian company Postmodern to further build out the creature to build out a few key scenes, with Main Road providing simulation and animation, and Postmodern handling shading, lighting and what Maximov terms as “slobber simulation.” Working with the lighting in cinematographer Maxim Zhukov’s shots, the VFX pros aimed to replicate the same illumination digitally in the area that surrounds the alien to improve realism.B&a: What can you tell me about the brief for Jean Jacket? Considering that action, the VFX team digitally enhanced the emerging cocoon, adding a look of water and slime to the character. Yet it was also important to avoid making viewers gawk at the effects, pulling them out of the movie.Īndrey Maximov, a senior artist at Main Road Post and VFX supervisor for the film, digitized the creature from the inside out, using a model “rig” to create a skeleton, then adding tissue, muscle, fat and skin.įyodorov was told what he needed to react to - a creature coming out of his mouth. “We used as a tool to terrify the audience and to create this feeling of suspense and tension,” he says. ![]() We didn’t want the audience saying, ‘That’s VFX.’”ĭirector Abramenko had a simple goal for the creature: to instill fear. So we wanted something that looked amazing and perfect. “They want the bar set by Hollywood standards. “Russian audiences don’t care about budgets,” Yahin explains. ![]() “We started talking with producers - Alexander Andryushenko, Fedor Bondarchuk and Pavel Burya - about the idea of the snake living inside the body,” says the director.ĭelivering a believable-looking monster on the movie’s shoestring budget wasn’t easy. Three years in the making, Abramenko’s idea stemmed from a proof-of-concept short called “The Passenger.” When it came to designing the creature, the challenge was to come up with something memorable, fresh and original that didn’t look like the famous xenomorph from the “Alien” movies.Ībramenko says that during one early meeting, the Main Road Post team presented the notion of a snakelike being.
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