We knew rarely we’d have to do multiple passes.” Editor Dean Zimmerman spoke about bringing his Avid to set to cut a sequence which was tweaked at the last minute. 1st AD Josh McLaglen spoke in depth about the ease of the process from a scheduling standpoint, revealing, “we would just shoot. VFX Supervisor Swen Gillberg spoke about the lighting rig nicknamed “the egg,” a system that allowed the team to use facial replacement on a speaking character during the film’s climactic sequence where Ryan Reynolds fights an upgraded version of himself. Covering the topic of how VFX supported the real stunts, UPM Mary McLaglen spoke about the preference of shooting live stunts for the actors saying, “As much as we can always get in-camera, we want to go for that for Ryan’s sake and for our sake.” VFX Producer Viet Luu spoke about how “complexity meetings” allowed his department to break down and divide which shots were safe to do practically and which were better achieved using visual effects and revealed how they used the Kuka Robotic arm to capture first-person shooter-like visuals during the film. Reynolds admitted that he was most proud of maintaining the emotion within the film despite all the effects and said that he was blown away by the emotion in the film.
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“This is definitely the most visually ambitious movie I’ve made because Free Guy had different kinds of visual effects ranging from creation of worlds to integration of practical effects,” said Levy. Following an introduction by Western AD/UPM Council VFX/Digital Technology Committee Chair/ Special Projects Digital Day Subcommittee Co-Chair Susan Zwerman, Levy was joined by Actor & Producer Ryan Reynolds, UPM & Executive Producer Mary McLaglen, 1st AD & Executive Producer Josh McLaglen, VFX Supervisor Swen Gillberg, VFX Producer Viet Luu and Editor Dean Zimmerman for a discussion about the making of the film moderated by UPM David Sanger.ĭuring the conversation, the creatives discussed their approach to realizing the film and the necessity of integrating the departments of VFX, Editorial, and the Director’s team early to ensure meaningful collaboration. Presented by the Western AD/UPM Council’s VFX/Digital Technology Committee, DGA members were able to enter the world of a video game and discover how the latest in visual effects brought the immersive world of Director & Producer Shawn Levy’s recent feature, Free Guy, to life. On Saturday, October 23, DGA members logged on for online presentations as DGA Digital Day 2021: Creating & Recreating Worlds presented a streamlined version of previous symposia and revealed technologies that make it possible to bring to life locations from the real and imagined past, as well as capture totally fictional environments.įollowing a welcome from DGA Special Projects Committee Chair Jeremy Kagan and remarks from Special Projects Digital Day Subcommittee Co-Chair Randal Kleiser, Digital Day 2021 kicked off with the first of the day’s two panel discussions. Since 2003, the DGA Special Project Committee has hosted Digital Day events dedicated to providing members with information about the creative and technical issues emerging from cutting-edge technologies designed to enhance and improve productions.
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