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muthur9000 · 7 years

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Creature Effects & Character Design

Alien: Covenant 2017

Sir Ridley Scott’s latest installment in the ALIEN franchise.

Odd Studio was honoured with designing and creating the creature and prosthetic effects for Alien Covenant in collaboration with the U.K.’s Creatures Inc.

Together, the company’s merged to become ODD CREATURES for the project.

Alien-Covenant.com (AC): How did Odd Studio and Creatures Inc first become involved with Alien: Covenant?

Conor O'Sullivan (Conor): I’ve worked with Ridley on 3 occasions, Prometheus (we were responsible for the Engineers),

the Counsellor and Exodus. You’d have thought I’d learnt my lesson!

But I enjoy working with him – he’s creative, fun, demonical and loves working with his crew. He decided that he wanted me to head up the Creatures design and Make up effects department – which was a great honour and opportunity.

I had long admired Odd Studios work and after meeting them knew we could work together and make a great team.

Adam Johansen (Adam): I had also admired Conor’s work on projects such as Dark Knight (Heath’s joker make up) and I thought the ‘Engineers’ Creatures Inc did for Prometheus were beautifully done.

Conor contacted myself and Colin Ware October 2015 as he was heading to Australia and was keen to chat about a possible collaboration with Odd Studio on Alien: Covenant. We met and chatted and it quickly became apparent we could work well together. We also have a lot of mutual friends and colleagues both here and in the UK and a partnership seemed to make sense.

AC: How long would you say Odd Studio and Creatures Inc spent working on Covenant?

Conor: We started on the project in November 2015 – and finished on the main shoot in July 2016 – though there were some pick-ups. I am currently working on an installation of the creatures for Madam Tussauds – so I’m still on it.

Adam: Yes, November 2015 was when I officially started and by mid November my Odd Studio business partner Damian Martin joined me along with Colin Ware and Emily James, working on some initial sculptures and finishing tests. Actually, I had a day last week going through Fox storage for some pick ups. So maybe I’ve only just finished working on Covenant as of the start of March 2017!

AC: Compared to your work on other films, would you say Covenant was more challenging or was it a fairly smooth process?

Conor: Ridley is demonical! He likes to stir it up for everyone – the crew the cast, and the producers. He does that because it achieves a greater degree of effective creativity.

It was very challenging. Above all of that, Alien is an incredible high standard to maintain. As Adam said once – it almost made him feel physically sick working on it.

Adam: Alien, was one of those films that to say had a huge impact on me would be a monumental understatement. The world that Giger and Ridley created together, using Giger’s artwork for the creature, instantly became a cinematic classic. Following that legacy and being honoured with working with Ridley Scott on an Alien film was indeed a huge responsibility. That responsibility, combined with the sheer scale of the project and the pace of which it ran, was one of the most challenging jobs I’ve been involved with.

AC: What aspect(s) of creating props for Alien: Covenant were the most challenging?

Conor: For me the design was the most difficult thing. Getting my crew of designers to give Ridley not only what he wanted – but also what he needed. It was a difficult balancing act.

Adam: Personally, the design of the adult Neomorph, in particular the head, was most challenging. There were many, many artists working on the designs for this but nobody was quite getting there. Ridley continually referenced a goblin shark for the mouth/jaw articulation and a sketch form Carlos Haunte. I sculpted many maquettes and full scale heads while Colin Shulver worked on the body in Zbrush with Conor compositing both elements together in photoshop until Ridley was happy. Damian did a gorgeously disgusting paint job and colour scheme to finish it off. When we presented the finished full scale Neomorph head to Ridley on location in NZ he was thrilled. It was a satisfying moment. Generally, the design of most creatures was challenging because again, we were trying to give Ridley exactly what he wanted and also trying to retain a Giger aesthetic.

AC: What aspect(s) of creating props for Alien: Covenant were the most enjoyable?

Conor: Working with Adam and his crew!

I like working on set with the things we’ve made. But otherwise we did a lot of 3D printing and I found this very interesting and productive.

Adam: I enjoyed working with Conor and his crew too. Both our crews worked very well together and it resulted in one big creature crew family, with old friendships re ignited and many new friendships made among our 45 strong crew. Having such a dedicated and talented crew made it all possible and made the experience most enjoyable for me.

This was the first time I’d worked with Ridley and it was a career highlight for me to work so closely with him, especially on set. Be it puppeteering or dressing blood, KY and food onto our puppets/suits/effects with him was an unbelievable experience for me. He really loves to get things in front of the camera and shoot effects/creatures practically and that was an honour to see him in action with our creations.

AC: We know Covenant will feature a variety of Alien monsters, a few of which are familiar to us. Since Ridley Scott teased the return of the Chestburster, are you able to confirm if a practical model of a Chestburster was created and used?

Conor: We designed and made a practical version of the chestburster – Dominic Hailstone came up with the design. It was a simple puppet made in a beautiful glass clear silicone It’s very new. Gonna be controversial!

Adam: I loved the puppet we came up with and Ridley and Dom’s design in my opinion was gorgeous. Greg McKee our head animatronic designer came up with a beautiful little armatured puppet that moved very well. As it’s a departure from the original, I feel it may divide audiences too.

AC: To what extent would you say your practical effects have been paired with CGI? By this I mean, is there an overabundance of practical effects used with complimenting CGI enhancements? Or were most props used un-altered by CGI?

Conor: Hmm, at the point of this interview it’s difficult for us to know what will end up on screen. Everything was built and filmed, with the discussion of cg augmentation etc required for some elements.

Adam: At this point it is difficult to say what is and what is not CG. We made practical effects for all of the creatures and all the make-up effects – even though some of the creatures we had designed were impossible to realize without CG.

Ridley prefers to film everything for real and then use it to dictate lighting, textures and design in CG. It seems to be part of Ridley’s process, making things practically and shooting it to determine how it’ll end up, practical, cg…or both.

Remember - you’d have thought I’d learnt my lesson!

AC: We've heard Alien: Covenant will utilize animatronics as well, for various aliens throughout the film. One of these is the Xenomorph itself. Are you able to elaborate at all on this specific piece?

Conor: The Xeno’s design was one of the impossible creatures to realize practically. But we gave it a go.

Adam: The full scale suit was unlike any creature suit we’ve produced before. I think we came up with something really neat. I still clearly remember the conversation Conor and I had which was a bit like “what if we…”.

It stayed as true to the proportions of the design as much as practically possible I think. A huge bunraku suit/puppet with some animatronic movements in the head/neck by Greg McKee. The life size version was an animatronic puppet attached to an actor (a bit like a Chinese dragon) with animatronic head etc. I started fleshing out the full scale body sculpture and was joined by Dominic Hailstone.

Together we worked on the body and Dominic moved onto the full scale legs and arms. Bradley Simmons sculpted the initial head and face. Later there were some facial tweaks made by myself and Robert Trenton.Colin Shulver was working on the design too in Zbrush. Marea Fowler, our head fabricator did a brilliant job bringing the suits together making it as comfortable as possible for our creature performer, Andrew Crawford. Andrew did an amazing job wearing and performing in the suit, on stilts, in very trying conditions and small on small set environments. Damian, myself and Julian Ledger did the art finishing on the suit and Julian painted all the translucent carapaces.

A smaller, more traditional xeno suit, worn by Goran D. Kleut was requested by Ridley for shots where the full scale suit, which stood over 7.5feet tall would’ve been impossible to use. This was sculpted by Andy Hunt and Colin Shulver and painted again by Damian and Julian.

Conor: The final body design by Colin Shulver was realized towards the end of shooting.

We made 3 practical versions – 1 at life size version (8 ½ feet tall) and another as a man in a suit and a third totally animatronic upper body.

AC: Was an animatronic suit created for the new Alien creature (Neomorph) as well?

Conor: A simple suit was made as well as a separate animatronic head.

Adam: The Neomorph is seen at varies stages of growth. This meant we had to produce 2 versions of small rod puppets, some stand in and vfx reference heads and the adult suit and animatronic head Conor mentioned.

AC: Early rumors suggested the new Aliens in Alien: Covenant would have translucent skin, like the original concept for Giger's Xenomorph. Are you able to confirm if a translucent puppet or suit was created for Alien: Covenant?

Conor: We always use translucency using silicones – wherever we can. The Neomorphs have skin like an old man or a new born bird.

Adam: Yes, the are really translucent elements to both creatures however the Neomorphs are definitely the more translucent of the two. We referenced a lot of aquatic animals such as the goblin shark and sting rays etc for the finish.

AC: The shower scene at the end of the Alien: Covenant trailer, was that Alien a suit or CGI, or blend of both?

Conor: This was the animatronic head and torso. It was our first outing of our Alien creature – which was barely ready. From what I can see there have been some enhancements but it is largely a practical shot.

Adam: Actually this was one of the most enjoyable shots with the Xenomorph for me. We were literally sitting in the next shower cubicle with our big animatronic xeno soaking wet as Conor puppeeteered the tail and I was the hand coming into shot.

AC: The eggs seen in the Covenant Trailer look taller and less bulbous than the ones in previous Alien films. Was this merely a design preference or can you say whether or not these are "different" eggs?

Conor: They are slightly different eggs – again one of the designs Ridley like by Dominic. I think I prefer the original shape – more Aphid egg like.

AC: You worked closely with Alien: Covenant's concept artists to bring their imaginations to life. Were there any of their concepts which you did not get a chance to create, but wish you could have?

Conor: We were the Alien: Covenant Creature concept artists. I would have liked to have more time.

Adam: When we began the project we were under the impression most things were designed and had been signed off on, but this was not the case and we did become the concept artists/designers.

AC: Of all the practical props and effects you worked on for Covenant, which was the most memorable (if you can say)?

Adam: I loved all the shots we worked on but perhaps the most memorable for me was the first gag we shot, which was filmed on location in Milford Sound NZ. This was the beginning of principle photography and the scene was insanely violent and technically challenging. The scene was with my good friend Nathaniel Dean who plays Hallet, whom Damian, myself and Colin Ware had worked with years ago on Farscape. It was the Creature Dept’s first gag so it was a big deal for us, making sure we nailed it. After a few takes and after many, many litres of blood, slime and entrails had covered Nathaniel he looks at me. And right before the next take he smiles like a kid and says “How fucking awesome is this!” I hope the audience finds them all memorable.

Conor: They’re all totally unforgettable – but the chestburster’s going to be the controversial one.

AC: How many "burster" sequences can we expect to be completely practical?

Conor: The chestburster is largely digital replacement I think, however the mouth and backburster's should be 90 % practical.

AC: We know Ridley enjoyed scaring his cast in both Alien and Prometheus by surprising them with some form of practical effect gag - to elicit a real, natural response. In Alien, it was the Chestburster sequence and in Prometheus, it was the Hammerpede escape sequence. Did Mr. Scott request any similar set-ups from your team prior to filming certain scenes? If so, we're they effective?

Conor: He did – with everything. We shot facehugger's out of eggs, made dummies of everybody and sprayed more blood around than an abattoir.

Adam: Ridley would make sure the cast weren’t in earshot when he discussed sequences on set with Conor and myself.

AC: Were there any setbacks or issues which arose while building any of the props or suits?

Conor: The biggest setback for us was time. We had been told that all the creatures were all designed and there would only be motion capture suits with ref heads for us to make for the CG guys to ad in the digital creatures.

We were just to do practical make up effects and do the design. I should have known better – I never learn my lesson it seems.

There were hundreds of random designs - none of which Ridley had committed too. Then Ridley decided at the last minute to make men in suits (something I subconsciously knew he was going to do all the time) – which then began a frantic search for suitable cast and crew.

Adam: Time was an issue especially with the late decision to make suits. Finding the right cast for the suits and then obviously producing the suits required the team to be at the top of their game and we certainly benefitted from years of experience building creature suits in short time frames from the Farscape days.

AC: Were there any dramatic changes made to any of your props throughout or just prior to filming? If so, are you able to say which ones and why?

Conor: Things got a bit jumpy on our first outing with the Xeno.

Ridley had approved a design by Bradley Simmons – which we had scanned, printed molded remodeled and cast.

But in the frantic activity of starting the shoot, travelling to a remote location and then trying to get the thing ready we had all overlooked the impracticality around the lips design.

When the mouth closed, the muscles went baggy – which looked crap. Adam, Rob Trenton, Damien Martin and a few others - did a couple of long days (and nights) and sorted the whole thing out. Jumpy but we got through it.

Adam: Yeah, I basically made the call to strip the Xeno face back to the skull and redesign it as it wasn’t totally working. That required us working around the clock to redesign, resculpt, recast and finish it. I’m so glad we did because Ridley’s response to the modified look was “There he is!”

AC: Have you enjoyed reading some of the fan theories on the internet regarding Alien: Covenant? Have there been any rumors or speculations which caught your attention?

Adam: The leaked photos stirred up loads of theories, which were interesting to read. New names/titles/theories for some of the space creatures have been fun to read :-)

Conor: Nothings really caught my attention – but I know there will be stuff once it comes out.

AC: How would you rate your experience working on Alien: Covenant? Compared to previous films you've been involved with; would you say Alien ranks higher on your list? Why or why not?

Conor: I’ve aged about 20 years. Stressful, fun, creative and a great experience.

Adam: Working with Ridley Scott on an Alien film, where I was privileged enough to co-supervise the creature effects, is about as high an honour as I can imagine. Other career highlights I’ve been honoured to be involved with was working with George Miller on a Mad Max (Fury Rd) film and George Lucas on 2 Star Wars films.

I definitely aged on Alien: Covenant, it was very stressful but one of the most amazing experiences of my life.

AC: Finally, can you tell us what the "Black Goo" is really for?

Conor: The black Goo? The God’s special jam.

Adam: Nope ;)

http://www.alien-covenant.com/news/exclusive-interview-with-alien-covenant-practical-effects-company-odd-studio--creatures-inc#ixzz4sVJZnjLB

@Scifiedcom on Twitter | Scifiedcom on Facebook

#alien covenant #alien: covenant #odd creatures #odd studio #creatures inc #xenomorph #neomorph #babymorph #mouth burster #chest burster #dancing baby alien #dancing baby #Goran D. Kleut

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falkenscreen · 5 years

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Spider-Man: Far From Home

Peter Parker says “friendly neighbourhood” Spider-Man one too many times.

We’ve already seen him (on his first of now two trips to Germany) take on an armada of Avengers, a band of tech-heavy mercenaries, fight for the fate of the universe and, as Nick Fury astutely points out, travel to outer space.

Sure there’s plenty of comics to draw from with Spidey foiling muggers about Queens but it’s a very tangled web to weave (I promise it’s just the one) to now pretend he’s only really accustomed to the ‘smaller’ stuff.

Strangely enough, Far From Home actually takes place on a lighter stage than its precursors and, for a welcome change of pace, that faced doesn’t threaten to destroy all life in the universe or even nearby planetary realms.

Somehow ill-content when otherwise ever-ready to at least help from the sidelines, Fury-ous machinations whir into place to ensure Spidey at least shows up on the day. Contending with giant recognisably human shaped ‘Elementals’ who turn up in the form of wind, water and else to wreak havoc on European capitals, wherever they are, so is the very mysterious, power-wielding Mysterio (Jake Gyllenhaal) to fend them off.

Suffice to say, there’s a shrewd twist on all this Marvel lore.

The problem with Far From Home is that it only gets interesting or even good in its second half. Contenting itself with a happy-snappy summer vacay for Peter’s class across Europe at the outset, to the film’s credit this and the other plot dynamics which might seem ludicrous or teeming with happenstance start to make sense as the curtain comes down.

Marvel #23 fills itself with meta-commentary on the extent to which the MCU and indeed our own world have come to value and perceive superheros, most prominent among them Tony Stark. There’s a surprisingly cynical undercurrent running through Far From Home relating just how much we are willing to take for granted not only the presence of superheroes but by virtue of their seeming infallibility their intentions, and too abundantly rely on, as Marvel has always stressed, perceptibly flawed individuals to always do good by us.

To the matter of the MCU itself, there’s a pretty funny blink-and-you’ll-miss-it gag on this universe’s own in-universe superhero flicks which are the only films available to Peter on the flight over.

Following Homecoming’s lead in expanding this universe beyond its titans and to those more significantly affected by what might be a regular day for the Hulks of the world, Agent Maria Hill (Cobie Smulders) also gets a bit more to do. Some of her line delivery (fairly given the writing) is about as forced as the later season gags in How I Met Your Mother, but she does get to fire a gun in one of the film’s more entertaining moments.

Gyllenhaal; the issue is that he, like this film, is only interesting for about one solid half of what runs for two hours-plus, even if he does imbue scenes which in the hands of most other actors would be boring with some intrigue and charisma. An about average performance for one of the most interesting actors working today in Hollywood, he’s still ace as always and on the occasions when Gyllenhaal has good material to work with Far From Home noticeably reaches its heights.

Too best when exploring some of the trippy visual experimentation the likes of which were so better achieved in Spider-Man: Into The Spiderverse, alas; unlike its predecessor here such treats are barely sustained beyond minutes or less when they do arise. Thankfully, Far From Home did however take some cues for scene transitions. Several working seamlessly and with no unnecessary padding at all, the film adopts stylistic, action-orientated rather than situational transitions as if you were still snug at home flipping pages.

Tom Holland is very good and he’s fairly the best on-screen Spider-Man to date, balancing the acrobatics, action sequences, alter ego and awkward schoolboy routine more convincingly and endearingly than either Maguire or Garfield. Zendaya, playing a much more nuanced iteration than Dunst, does very well; too getting some of the best laughs as MJ. Australia’s own Angourie Rice, with limited screen-time, noticeably manages to sell all this much better than a lot of her co-stars.

Jacob Batalon and Martin Starr, both returning as Pete’s best mate and teacher respectively, don’t see nearly so many of their gags land. More a consequence of the writing than their performances, the screenwriters simply relied on tired shticks, and in the case of Starr’s a stock-standard uninspiring tour leader bit, being funny, with Batalon in particular tasked with a one-joke romance subplot that’s stretched out for the entire film.

Starting fairly on the nose with the music choice (even if it’s an excellent song it just clashes), Far From Home goes yet further in it’s opening moments to acknowledge that this universe has entered a new “phase.” In a film that doesn’t always choose it’s words carefully, the Producers obviously haven’t seen Team America either given the title cards make reference to, for instance, “Prague, Czech Republic” alongside “Newark, New Jersey.”

Touching on the immediate fallout from Endgame, had Far From Home explored the effects of what is here called “the blip” in more detail and the consequences of half the universe disappearing this might have proved more memorable. But, hey, there’s landmarks to destroy.

On the subject of CGI, cast your mind back to Sam Raimi’s Spider-Man. Remember that scene where Goblin is lecturing Spidey on a rooftop, or chasing him in the streets atop the glider, or fighting in the final confrontation? They all have something strange in common and it’s that the actors, absent any enhanced graphic imagery (though fairly with some practical effects) just get to work their magic all on their own. The difference is it looks and feels real and it’s such a refreshing change from an onslaught of still excellent digital generation to just watch a couple of really strong performers hang out in costume. Far From Home comes close and notably there’s a very similar exchange atop a roof between Mysterio and our webslinger, but there’s nothing here where it’s apparent the performers got to straightforwardly emphasise their own theatrics rather than that colourful others could build around them.

Leaning too heavily on the 80’s-inspired bits and only really becoming engaging following very generic fare with the peculiar second act about-turn, the end-credits are too something to hold out for and like Gyllenhaal ensured this was a worthy watch.

Spider-Man: Far From Home is in cinemas from July 1

#xl #reviews #spider-man #spiderman #marvel #mcu #marvel cinematic universe #far from home #spiderman far from home #spider-man far from home #spider-man: far from home #tom holland #jake gyllenhaa #jacob bata #martin starr #angourie rice #zendaya

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