Our Source’s . in an interview with Samantha Kolivisual effects supervisor julienne teen How his team at Rodeo FX expanded Vecna’s den of mind and created a ton of visual effects for the scene. Sadie SinkRemarkable performance. The scene is essentially divided into two parts: the first part in which Vecna (Jamie Campbell Bower) restrains Max (Sink), intending to add him to his collection of wayward teens, and another where she injures him and runs back to the safety of his friends. “There are shots where you have Max on the island and Vecna, and then when it changes, and when it’s on the island, it basically makes the whole island workable,” said Herry. “And then when she manages to escape, it’s basically a set of a full-on blue screen set. So, everything is a blue screen.”
Behind VFX Teams strange things He is tasked with creating large-scale landscapes that fill the entire screen, as well as small intimate details in close-up shots. And a lot of his work especially in this scene depends on the performance of the actors in the scene. Harry was widely praised for his performance of Sync in both parts of the scene as he described how he created the twisting vines he used to trap Vecna in his lair:
“It’s pretty impressive. It’s all CG vines. There was no placeholder. I think there were probably some shots where there was a placeholder on the wrist to help it act the way it did.” [restrained.] Otherwise there would not have been a rope around his neck or anything like that. So, I think the performance was really great. What we did on them was match their performance, making sure we had everything aligned perfectly. So, then we could animate all those vines on her neck and make sure it clung to her display, but we were really counting on what she was doing. Each time she felt suffocated or suffocated, we added vines to animate differently, to contract, to curl, just to make sure it was actually matching which She was doing it that day.”
In the sequence where Max emerges from Vecna’s lair, the monstrous villain tries to stop him by crushing him to rubble within the Upside Down. With most of this scene being CG animated, the VFX team had to create effects that both influenced and reacted to Sink’s acting choices and movements through the sequence. Harry explained the collaborative process, saying, “So, we obviously had an edit of the sequence where it would take place. So, we got cues from the actress’ performance, which gave us an idea, “Okay. We need to put the debris on the right, on the left, “and need to know a little time.” He continued, “We start doing what we call previs, a back visualization. It’s basically a gimmick of time. So we had a lot of rough rocks falling down, just to know how it blended.” Does it? What creates fear? Does it give the proper sense of claustrophobia that you might feel like being stalked?”
Explaining how all those moving pieces come together, Harry said:
“We loved what we call a body match move. So, we did a match move of the display. So, we have a digital move of that. When we run simulations of things exploding, they can collide, and The pieces can hit her. The body. Then, when she’s running or so, we can have the blood that we make in the CG. The blood can clump on her, and even the smoke that we put on the ground But, he might bump into his footsteps. We still keep his performance, but we have a digital double that we just use to recreate interactions you wouldn’t have otherwise. So, in this way everything is very much connected with the performance of the actress.”
strange things Season 4 is available now on Netflix and be sure to stay tuned to Our Source for our full interview with Harry. In the meantime, watch our Season 4 interview with the Duffer Brothers below.