Our Source’s . in an interview with Samantha Kolivisual effects supervisor julienne teen The collaborative process between her team at Rodeo FX and the makeup artists at Netflix breaks down the process that created the monster we see on screen. “Vecna is a good collaboration, I think, between Pragmatic and VFX,” shared Herri. “We started with a concept from that [concept artist] Michael Meyer. So, we had a scene of a very thin, very long, super creepy creature.” Herry explained how his team created the 3D model for the character from concept art, “We added all the moving vines and everything . And once we were happy with the modeling and the texture of it, what we did was to provide that model to Netflix, and what they did was they made the suit for the actor to basically wear Vecna’s suit in 3D. printed.”
Creating a suit for Bower to wear and then making sure that all of the visual effects Herry and his team did fit perfectly to the actor’s movements involved a complicated back-and-forth process that Harry explained:
“There were many [pieces of the] Suits to be able to wear. Then the actor wore a suit with a few hours of makeup. Then, he 3D scanned the suit again. So we can make what we did earlier on the new suit. It was very much the same, but you still have things that have changed, obviously, the morphology of the actor is a little different, a little taller, or there’s some difference. So, we reevaluated what we did earlier on the last scan, and then added all those kinds of things, removing the moving vines and whatever’s going on, the nose.
Once Harry and his team had new scans of Bower in the suit, they were able to layer all kinds of disturbing scenes on the suit. “We were then able to basically match practical performance one to one and enhance the suit.” Describing how much Vecna he made, Heri said:
“Every time you look shoulder, nose – there’s practically limits to what you can do [effects], Obviously the fingers are, I don’t know, 10 centimeters long, but the vekna ones are 20 or 30 centimeters, so you don’t have a full joint of fingers. So, what we did was remove the hand, and basically replace it with a CG animated hand, so you have full control and full range of performance possibilities.”
Herry spoke about the collaboration, calling it “too complicated”, elaborating on how his team was able to do impressive practical work and scale it up for the screen. he said:
“All that’s going on is VFX because you can’t really do that, but that’s where you achieve the most. The same goes for the environment. When you get the groundwork for reality, So you can increase it. You get a better result for sure, instead of starting with a CG creature, you are always questioning something. Whereas when you start with something real, you really Can’t question reality. That’s the real thing.”
Seasons 1-4 strange things are available on netflix. Be sure to watch our full interview with Harry to learn more about the behind-the-scenes VFX of his favorite Season 4 moments. In the meantime, watch our interview with Jamie Campbell Bower below.