We spoke w/ TheLastOfUs VFX supervisors Simon Jung and Dennis Yoo on creating the Bloater scene, duplicating Nabo the Giraffe, and building a post-apocalyptic world.
Sundays just aren't the same without the weekly emotional rollercoaster of a new episode of The Last of Us. HBO's series adaptation of the beloved video game of the same name recently concluded its first season to absolutely rave reviews from both fans and critics.
DENNIS YOO: And then motion-wise, we're basing everything on motion capture. Even though we might not have captured stuff on set or on a certain shoot, we go recapture and try to get a base of motion, and then we keyframe on top. So, we're animated on top of that motion capture. So, there's always a base to reality.
YOO: Yeah. One of the big things Craig [Mazin] was not happy with about the suit was the way he moved. And it makes sense. You have a guy in a giant rubber suit, he's going to move funny. And so, one of the things that we did was try to search for that performance, and we did that through motion capture. We got Ike Hamon, our stunty here in New Zealand, to try to recreate different types of motion.
JUNG: Yeah, because initially, the camera of that shot was very different. It was just a steady camera that rose a little bit, and it just didn't give Craig Mazin the scope that he was after for that shot. And so they wanted to have the camera keep going further up, and that meant that basically, we couldn't hold on to anything in the plate apart from the very foreground because the perspective changes so much if a camera rises up.
It really enhances those particular scenes that you just called out. I was actually going to ask about the child clicker, I think I've read that you guys worked with a contortionist as well for that. How did you go about creating that movement? She moves so quickly and is just absolutely terrifying.
With one of the lighter scenes from the series is that finale moment with the giraffe. And so they worked with an actual giraffe and then you guys also built the environment around her and then the other giraffes as well. Can you speak about creating that environment? Giraffes in general have very unique features, for some reason. We noticed that when we went to our Zoo here too, they all look very different and have very different features. And Nabo had these nobby hair bits on her head, for example. And there are very distinct behavioral features as well, the way she ate and all of that. So, we had to get extremely, extremely close to it.
So, kudos to us, Simon, because people are having a hard time. They think it's a real giraffe. So, I'm really happy about that. When we see it, we know which is our shot. So, we're like, "Oh, is that good enough?" And then having people not being able to tell is really rewarding.YOO: Yeah. So, the giraffe shots right in the beginning is our CG giraffe, right from the start all the way up to when Ellie feeds it the leaf.
JUNG: That's an excellent question. So, what we did for the Bostonian is, the Bostonian was actually I think a menswear store in Calgary somewhere. It was basically just a brick building that looked kind of similar to the actual Bostonian Museum in Boston. So, we looked at Google Maps, basically, of a 3D version of Google Maps, and looked at what buildings are surrounding the actual Bostonian. And based on that we made our own CG-building versions of that and the immediate surrounding of it.
And then the next step was to get motion on that, get ambient motion, so everything is slightly moving in the wind, everything has a little bit of a... Yeah, it's just a slight element of motion to it. So, there was a whole bunch of practical elements, like real-life footage that was shot and placed in there by compass wells to help with some of those fine moving grasses and leaves and all of that. So, it was quite an involved process to get it to that level of density.
YOO: There's a lot, but one of the ones that I'm super proud of is in the Bostonian with the clicker and Joel hiding behind the cabinet loading his gun. That clicker is entirely CG there. We ended up scrapping all the motion capture. No one could move like that on our side, so we had to animate it all and just even trying to find the performances. So, it was very similar to what I was talking about with the bloater.
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