The character then received a secondary anatomical motion with traditional muscle, fat, and skin simulations giving him more realistic features. MPC modelled the character as if he had an underlying cartoon anatomy that had been wrapped in a loose cloth. In subsequent shots, this 2D animated version of the character is transformed into a fully realized 3D final form of Rowan, who is a whopping 300ft tall. Director Paul Feig wanted Rowan to appear as if a cartoon had come to life, so MPC took a traditional 2D artist animation of the no-ghost logo and then composited into the photographed backgrounds of the Mercado lobby. The main character of this scene is Rowan, who is a giant recreation of the classic no-ghost logo. In addition to the fully CG exterior of the fictional Mercado building, MPC also extended the sound stage set of the lobby as well as the upper floors. Building the environment required extensive research to capture the detail of 1970’s architecture. The green screen set had street and sidewalk detailing, but the surrounding buildings were created in CG. Because shooting in modern Time’s Square can be restrictive, the shooting for the final action scene took place largely on green screens. Additionally, they explored the transformation of Gozer, the malignant entity from another dimension, as she shifts into Gozer Spirit.įinally, the team had to find a way to bring a 300ft tall ghost to a 1970s version of Times Square. The team created several pieces of key art for the city chase scene with the Ecto-1 and Muncher, as well as the designs for the new custom proton trap and its effect on the ghosts. To create him, the team used all the ghost references from the first two Ghostbusters movies. Instead of the beloved Slimer, Afterlife introduces the audience to Muncher. To get the animation just right, the team used toddlers as references to recreate the elements of clumsiness and cuteness in their movement. ![]() The team was able to add gags and bits to the scene and even nodded to another famous 1984 movie: Gremlins. The mini marshmallows create mayhem in a Walmart, in which each character brings its own personality to the chaos. The tiny Stay-Puft marshmallows in Afterlife are a fun rework of the original movie’s famous character and cause just as much trouble. The MPC team also had the honor of bringing back another iconic Ghostbuster’s character, but this time in “mini” form. The team paid particular attention to the eyes, making sure they captured Ramis’ likeness. The Character Lab team used nuanced facial modelling techniques and rigging to ensure MPC’s animators could create a convincing and emotional performance, and photorealistic hair and skin was developed. Once they perfected this young doctor, it was time to age him to fit the concept art. Egon Spengler into shots from the original Ghostbusters movie and presented it to the filmmakers to see if they could differentiate the original from the digital. ![]() To test their success, the team inserted the digitally generated Dr. Using this material, the artists were able to construct angles and expressions, generating a likeness to the original actor. To do this, MPC Film’s Character Lab amassed crucial reference material from the 19 Ghostbusters films, and they were also given access to digital scans of earlier footage that had never been used before. ![]() ![]() Egon Spengler was going to play such a central role in the story line, MPC was entrusted with bringing the character, who had been played by the late Harold Ramis, back to screens.
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