![]() ![]() Rather than adjusting the rig, solve, fur and fat, we would take the model and sculpt whatever creases we needed or conversely sculpt in a little jiggle.” Wetness, blood and dirt had to be integrated into the fur groom. “If the jiggle was too high, then as Cokey was walking it looked like she was made of jelly and if it was too tight it felt weightless. “My pet peeve with a CG project is if the character doesn’t feel like there is mass behind it,” Hollander remarks. The facial rig in animation was modified to allow for extreme expressions. That interplay between inquisitive bear and killing machine was fun.” Her senses kick in, realizes where the drugs are, and that’s when she goes into overdrive. On one side, Cokey is climbing up, going after the boy, and it’s slow and tense. She is going up slowly, which you see quite often in footage of bears. Explains Hollander, “You play into the fact that Cokey has had a big day and her senses are off a little bit. One of the first shots that previs did was Cokey climbing the tree. We could try to shape their vision and get it all right. There are definitely little beats like that where the team Liz had with the writers and producers knew when to make it snap at the right point in time. I feel that the two things worked separately quite nicely in that instance. She had already killed him and ripped his leg off. Why doesn’t she do a line off of the leg?’ In that scene Cokey isn’t hurting anyone. At first, she was maiming this guy, and they went, ‘Hang on, he’s covered in coke. “There is a shot where Cokey does a line of blow off of a severed leg and that addition came fairly late. “But if you get between her and loved ones or startle her then she doesn’t care who you are,” Hollander remarks. There is great reference of sun bear opening a coconut, and they’re going at it with such an intensity that when we saw it and showed it to Elizabeth Banks, she immediately said, ‘That could be Cokey going at a bag of coke!’ The tricky thing is going to be, are people who have experience with cocaine going to see the movie and say, ‘That’s not what cocaine would do to you.’”?Ĭokey is more interested in the drugs than hurting people. Their eyes don’t know what they’re doing and their tongue is rolling out. If you look up sun bears, they just look cooked on any given day. We leaned heavily towards sun bears because we wanted real-life behaviors ideally by a bear however, it had to have the loopiness that drugs introduce. There were certain subtleties played up and down. That was an interesting exploration and one that took time and evolved as the movie started taking shape and then again as the movie went through the edit. It had to be threatening and believable, but it’s a bear high on drugs. “The tricky bit was taking all of the crazy coke references that we knew to be true, like Scarface, however then making sure it didn’t turn into a farcical comical performance. “When you first hear the name of the movie, everyone assumed that it was a working title,” Hollander admits. ![]() Simple head turns, slight angles and extra light kicks, as well as textural components like blood and dirt, helped to shape the shot.”įinding reference of black bears is not hard, but reference of one experiencing a high is a whole other thing. That was hard for the animation and lighting teams to give her shape, but your eye wants to tell you that there is no shape. Observes Hollander, “If you see a side profile, Cokey is unmistakably a black bear, but when she stares towards you, the snout foreshortens, making her look like a fat husky. Sometimes we had to accentuate her form so that the light could catch and give us the shape and performance that were needed.” Black bears have a distinct nasal bridge. Stage three is she swam in a river of blood and looks terrible. Stage two is little bits of dishevel and blood. mark, which is within the upper range of what is feasible,” Hollander states. “We estimated Cokey to be around the 500-lb. Placed in charge of digitally creating the drug-induced antagonist leaving behind a trail of carnage was Wētā FX Visual Effects Supervisor Robin Hollander, who had to produce 468 shots over a period of two years. ![]()
0 Comments
Leave a Reply. |