MPC Film creates S’More Great VFX for “Ghostbusters: Afterlife”

MPC Film shared with AWN some of their great work on Jason Reitman and Sony ghost hunters following, Ghostbusters: the afterlife. In the film, directed by Jason Reitman and produced by Ivan Reitman, after a single mother and her two children arrive in a small town, they begin to discover their connection to the original Ghostbusters and the secret legacy. left by their grandfather.

MPC Film VFX Supervisor Pier Lefebvre, DFX Supervisor Sébastien Raets and VFX Producer Sarah Moussaif worked alongside Production VFX Supervisor Alessandro Ongaro to help bring the director’s vision to life. A team of VFX artists, production teams, and software developers spanning three continents have collaborated to work on some of the movies’ most complex visual effects and animations.

Technicolor’s art department was involved in the very early stages of development, working on the design of Muncher, whose appearance reminds audiences of the original ghost, Slimer. Noting the character’s visual origin, art director Leandre Lagrange said, “Extensive research has been done on the horde of ghosts seen in the original. ghost hunters and Ghost hunters 2. “

The team created several key pieces of art for the city chase scene with the Ecto-1 and Muncher, as well as designs for the new custom proton trap and its effect on ghosts. They also explored the transformation of Gozer, the evil entity from another dimension, as she transforms into the Gozer Spirit.

MPC Film’s biggest challenge has been to bring Dr. Egon Spengler, played by the late Harold Ramis, back to the big screen. The company’s Character Lab team began the effort by creating a library of reference material from the years 1984 and 1989. ghost hunters movie theater; they had access to digital scans of previously unseen footage. By studying the images, they were able to select key angles and facial expressions to begin to create a precise likeness. Once confident with the pairing of young Ramis, the team inserted it into blueprints from the original. ghost hunters film and hosted a screening for the filmmakers to see if they could tell which shot was from the film and what the digital Egon was.

Exploring the aging process needed to match the concept art provided by the filmmakers, the Character Lab team received scans and photographs of the double that performed on set. Texture artists supplemented this with their own library of skin maps and photographs of a life model of a similar age. The Character Lab team then used nuanced facial modeling and rigging techniques to ensure that the MPC facilitators could create a compelling and emotional performance; photorealistic hair and skin were then developed. Particular attention has been paid to the development of the gaze of the eyes. According to Lefebvre, “It was a huge honor + to be tasked with bringing Egon back to the screen for Ghostbusters Afterlife, and we were humbled and delighted with the positive response from Harold’s family.”

MPC Film also created visual effects for several other scenes in the film, including a sequence in which playful Stay-Puft mini marshmallows wreak havoc at a Walmart. “Animating the Mini Stay-Puft scene was one of the times you remember why we want to be animators in the first place,” said animation supervisor Christophe Paradis. “Everyone’s ideas were on the table to choreograph the perfect combination of macabre, evil, childish, savage, goofy, off balance and funny, while creating an identifiable touch of personality unique to each of them. “

With a horde of frenzied marshmallows wreaking havoc on the screen, it was important to naturally direct the eye to the right place by carefully surveying their actions. In turn, this allowed the team to add additional gags outside of the center of attention.

Some inspirations and references for the scene included another film released in 1984: Gremlins. MPC received the Character Items, which were ingested into its pipeline and rigged; additional burnt variations were also created. The mini Stay-Pufts were hand-animated, with the team referring to toddlers to recreate the elements of awkwardness and cuteness in their movement.

Source: MPC Movie

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Dan Sarto is publisher and editor-in-chief of Animation World Network.

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