Spotlight – Howard Berger

To create cinematic illusions, you need conjurors. In this series of spotlight interviews, we ask movie magicians what makes them tick.

Howard Berger is co-owner of makeup effects company KNB EFX Group, which specializes in character prosthetics, animatronics and creatures. Howard’s film credits number in the hundreds and include The Chronicles of Narnia, Kill Bill, Lone Survivor, Hitchcock, Oz the Great and Powerful and Army of Darkness.

Howard Berger applies Krill makeup to actor Scott Grimes for an episode of the Fox television series "The Orville."

Howard Berger applies Krill makeup to actor Scott Grimes for an episode of the Fox television series “The Orville.”

CINEFEX: How did you get started in the business, Howard?

HOWARD BERGER: I grew up in LA and loved monsters and movies, and knowing that someone made them, I wanted to be one of them too. I stalked my idols – Stan Winston, Rick Baker, Dick Smith – at 12 years old. My break came when Stan hired me fresh out of high school at 18 years old.

CINEFEX: What aspect of your job makes you grin from ear to ear?

HOWARD BERGER: When I see the audience reaction.

CINEFEX: And what makes you sob uncontrollably?

HOWARD BERGER: Watching The Thing and An American Werewolf in London.

CINEFEX: What’s the most challenging task you’ve ever faced?

HOWARD BERGER: The first “Narnia” film was unbelievably difficult. Eight months of prep in LA at KNB EFX. Then eight months of filming in New Zealand. The hours were monstrous, and the turnaround would sometimes be as little as three hours. It kicked my ass – but it was the greatest experience professionally for me.

CINEFEX: And what’s the weirdest task?

HOWARD BERGER: The film The Cell, which I hate and had a terrible time on. They were filming a scene where Vincent D’Onofrio, who plays the killer, hooks himself up over his naked, bleached-skin female victim and masturbates. I looked at my set mate, Garrett Immel, and asked “What the f*** are we doing here?!”

Howard Berger applies Freddy Krueger makeup to Robert Englund in 1987 for "A Nightmare on Elm Street 4: The Dream Master."

Howard Berger turns Robert Englund into Freddy Krueger in 1987 for “A Nightmare on Elm Street 4: The Dream Master.”

CINEFEX: What changes have you observed in your field over the years?

HOWARD BERGER: The partnership of practical special makeup and visual effects working together. I love when we do it. I love the visual effects teams as there are things we can’t do and things they can’t do, and together we accomplish amazing magic.

CINEFEX: And what changes would you like to see?

HOWARD BERGER: Better training in my union. And a different criteria as to how to become a union member. The qualifications now are passé and no art is required to become a member. It’s about days, and that is not enough. There are great people out there that should be members and are kept out due to rules that don’t apply anymore.

CINEFEX: What advice would you give to someone starting out in the business?

HOWARD BERGER: Do your best always. Listen more and talk less. Crawl before you walk. Learn from everyone as no one knows everything. I don’t know it all and I learn every day. Use good judgement in the way you present yourself and be ready, because not everyone gets a trophy for participating in the game.

CINEFEX: If you were to host a mini-festival of your three favorite effects movies, what would you put on the bill, and why?

HOWARD BERGER: The Thing – it still amazes me. I think it’s so inventive and brilliant. The Howling – my favorite werewolf, very Bernie Wrightson. So badass! Creature from the Black Lagoon – my favorite monster of all time, and the most perfect creature suit ever.

CINEFEX: What’s your favorite movie theater snack?


CINEFEX: Howard, thanks for your time!

Adam Savage’s Tested crew visited Howard Berger at KNB EFX – watch the video:

“The Commuter” — VFX Q&A

The Commuter - Cinefex VFX Q&A

In The Commuter, businessman Michael MacCauley (Liam Neeson) embarks on his daily commute home, only to be caught up in an explosive criminal conspiracy. Directed by Jaume Collet-Serra, the action-packed film features 860 shots by lead visual effects vendor Cinesite, which created a CG train and digital environments, set extensions, explosion effects and the film’s climactic train crash, under the leadership of production visual effects supervisor Steve Begg. Nvizible handled previs and additional visual effects, with further shots delivered by Iloura.

Cinefex spoke with Cinesite visual effects supervisor Stephane Paris about his team’s work on The Commuter, with CG supervisor Luke Wilde and lead effects artist Alexandre Aillet chipping in.

Liam Neeson stars as Michael MacCauley in "The Commuter."

Liam Neeson stars as Michael MacCauley in “The Commuter.”

CINEFEX: Stephane, you spent about six weeks at Pinewood Studios near London, working alongside production visual effects supervisor Steve Begg. Tell us about the sets they built there for the train interiors.

STEPHANE PARIS: They set up two stages. The first was a single train carriage adapted and dressed to look like multiple carriages – this was used to film all the main action on board the train.

CINEFEX: Was this a bluescreen set?

STEPHANE PARIS: Yes. The carriage was surrounded by bluescreen and shot on a hydraulic system to give realistic shake and movement. In one notable shot, the camera pulls back through the entire length of the train and through the carriage walls. A camera rig was set up on the roof and programmed to repeat the same pullback move through each iteration of the carriage – this was subsequently stitched together by our visual effects team.

CINEFEX: What about the second stage?

STEPHANE PARIS: That was mainly used for stunts. It had sections of two rear parts of the train on a raised 50-foot platform. One example of where this was used is a sequence where Michael jumps from one moving train to another at the climax of the film.

Watch a behind the scenes featurette about The Commuter:

CINEFEX: Michael’s journey begins in the New York City Subway. Was the production able to film there?

STEPHANE PARIS: Only limited filming was possible in the subway, due to strict restrictions. Space was also limited because of the narrow structure of the carriage, so three cameras were pointed out of a side window to achieve a 130-degree panorama, with a front-facing camera about 30-50 feet away. Because of the distance between the two rigs, it was not possible to stitch the front and side views together. In addition, what was shot was not particularly dynamic and did not really show the distinctive cavernous stations with their large pillars.

CINEFEX: So you used that footage as reference to create a CG subway environment?

STEPHANE PARIS: Right. The live-action was shot in the dressed bluescreen carriage at Pinewood Studios and we built a flexible CG asset for the environment which could be used in multiple shots. We created the walls, platforms and exteriors in CG, complete with cable systems, columns, tracks and so on, and joined it all together to create a half-mile-long section of tunnel, rendered through eight cameras and projected onto geometry. This meant that for any shot we could track the camera, drop our asset into the environment and have the required control over the lighting to ensure it matched the lighting on the actors. Using this system, we were also able to achieve continuity between shots and limit environment repetition. Although the setup was heavy, the flexibility that this asset gave us really paid off and we ended up using it in approximately 200 shots.

The Commuter - visual effects by Cinesite

CINEFEX: The action moves above ground as the train journeys towards Tarrytown. Did you use digital environments there too?

STEPHANE PARIS: Well, whenever the audience sees the outside of the moving train en route to Tarrytown, it is CG – so is the environment – apart from a few shots filmed from a helicopter. To create these environments, Steve Begg and his team went in and around New York and filmed 360-degree elements from the back of a truck, and also from trains and a helicopter. While the journey is based on a real route, it was not possible to shoot the exact line from the story, so similar environments and locations were selected, based around New York’s Northern Line. Steve and editorial then picked backgrounds and matched them with the appropriate section of the action.

Cinesite composited moving backgrounds into live-action shot on train carriage sets at Pinewood Studios.

Cinesite composited moving backgrounds into live-action shot on train carriage sets at Pinewood Studios.

CINEFEX: Was it a tough job to composite the live-action train interiors with the exterior views seen through the carriage windows?

STEPHANE PARIS: Reflections and lighting from the shoot with the actors often did not match the selected exterior environments, so these required clean-up and extensive keying. Sometimes we toned down the live-action, and at other times it was necessary to add additional lighting.

CINEFEX: Tell us more about the CG train that you built.

STEPHANE PARIS: We modelled a full train of six carriages, inside and out, for wider shots where the various locations along the route were established. The art department sent reference, including a blueprint of the train, but the underneath was entirely made up by the visual effects team. We had to create this area at particularly high resolution, with textures, grease and surface scratches, so that it would stand up to very close scrutiny. This was particularly important for a sequence where Michael, in an effort to engage the emergency brake on the dangerously speeding train, climbs underneath and hangs precariously just above the track.

020a_Cinesite_The Commuter ©2018 STUDIOCANAL. All rights reserved

CINEFEX: Things start going wrong when a bomb goes off, destroying the train’s brakes. How did you tackle this dramatic moment?

STEPHANE PARIS: We did an entirely CG shot that included the train, environment, brakes, explosion effects, tracks, smoke, sparks and CG water complete with explosion reflections – it was very challenging! Also, this was a long sequence, shot under different lighting conditions and environments that had to play within the CG environment surrounding it. There were a lot of live-action lighting cues that were very difficult to reconcile with the creative requirements for time-of-day and location. Making this work required a lot of back and forth with layout and lighting to get buildings, trees, and other occluding objects lined up properly with the on-set look and camera cuts. There was also significant animation work required to reconcile live-action performances with the physics of an accelerating train, and the optical illusions introduced by shooting a foreground live-action character from a low-angle with a wide lens against a large object.

CINEFEX: There’s a fight on the train that plays out in a continuous two-minute shot, no cuts. How did you put that together?

STEPHANE PARIS: The fight scene was filmed as 17 separate plates, which the visual effects team stitched together. The shot included action inside train carriages with interactive live-action lighting effects, so we had to create a seamless CG background to be displayed outside the carriages that included this interactive lighting. Despite the excellent quality of the takes, there were significant camera and pose differences take-to-take, in what was supposed to be continuous action – this required a lot of creative matchmove and comp work to hide the transitions. We also created bridging CG elements to track across these takes.

Cinesite created full CG shots of the train crash that occurs at the climax of the film.

Cinesite created full CG shots of the train crash that occurs at the climax of the film.

CINEFEX: Let’s fast-forward to the train crash.

STEPHANE PARIS: Oh, that was our most complicated effects sequence. The team built a one-and-a-quarter-mile asset of the environment approaching Beacon and the wide station yard, dressed with buildings, tracks, trains and general industrial content. The CG environment included a large curved section of track to match with the action. The environment needed to align with a section of real set, captured using photogrammetry, which was built at Longcross Studios in England for shots where the passengers disembark the end carriage.

CINEFEX: Did you have previs to work from?

STEPHANE PARIS: During the preproduction phase, the previs for the full CG shots was not totally locked off, so some adjustment was still required for editing, camera movement and set dressing. We knew that the train, once derailed, would have to hit some electrical pylons, breaking them and making wires snap. The big question during preproduction was which pylons – we had at least four variations –and how could we keep to the schedule, pre-empting possible last-minute changes? We came up with a procedural solution, switching from a two-mast set to a three- or four-mast set, so that we would not need to start the shot from scratch all over again if the requirements changed.

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CINEFEX: In addition to building a big station yard asset, you must have churned out a heck of a lot of effects simulations.

STEPHANE PARIS: Yes! The impact of the train crash required realistic simulations of bending and crumpling metal, dynamic interactions between the derailing train and the destruction of the environment, and the generation of a large number of secondary dust and fire/smoke simulations from the resulting carnage. We ran the majority of the heavy effects work in Houdini using the finite element model solver and cloth components to art-direct the train destruction, simulating the bending and shearing of metal panels and the shattering of windows. We used the results as collision objects for the environment destruction and volumetric effects such as explosions, smoke and dust, all using Houdini’s rigid body destruction, particle and fluid simulation processes. We simulated the crash interaction with the environment and destruction of track rails and sleepers, track gravel ballast, dirt and particulate passes, as well as subsequent dust kick-up and smoke trails from these elements.

The Commuter - full CG train crash by Cinesite

CINEFEX: Quite a challenge.

ALEXANDRE AILLET: Strangely enough, the challenge was more about finding proper references which would fit our action movie requirements. Footage of derailing trains is difficult to find, and when you do find it you quickly notice that train carriages are not designed to tear and break the way you would like them to in an action movie! Naturally, they are constructed to be safe, with lots of energy absorption compartments and equipped with auto triggering safe mechanisms. So, putting reality aside, we devised a visually exciting and dangerous movie train crash for Jaume, complete with lots of metal crumbling, shattering windows and multiple large-scale impact explosions.

The Commuter - full CG train crash by Cinesite

LUKE WILDE: As a result, we had to ensure we were maintaining the destruction continuity across the sequence of shots as the train progressively derails and crashes. We applied a high number of re-simulations to the train and environment destruction whenever there was a change to one of these in a shot earlier in the sequence. Devising efficient workflows using in-house tools to streamline this where possible was key in order to deliver a large number of effects-heavy destruction shots, whilst maintaining accurate continuity and remaining responsive to the clients’ notes during the show.

CINEFEX: Stephane, Alexandra and Luke – thank you for talking to us.

Special thanks to Sophie Hunt. All images copyright © 2018 STUDIOCANAL. All rights reserved.

Star Wars: Secrets of the Empire

Star Wars: Secrets of the Empire

It’s the dream of every Star Wars fan to actually visit that fabled galaxy far, far away. In the new virtual reality experience Star Wars: Secrets of the Empire from The VOID and ILMxLAB, you get to do exactly that, in an immersive adventure that recruits you into a Rebel Alliance mission to infiltrate an Imperial base.

The experience relies on the real-time rendering capabilities of Unreal Engine 4. ILMxLAB visual effects supervisor Ben Snow commented:

“Unreal was essential to creating ‘Secrets of the Empire’ because we really wanted to lift the visual bar on this project and make it as immersive as possible. There are a lot of components going into this, all of which have to be viewable at 90 frames per second in stereo by every single person in the experience.”

Watch a behind the scenes video:

Cinefex spoke last year with John Gaeta — then executive creative director at ILMxLAB and now senior vice president of creative strategy at Magic Leap — for our overview of the virtual reality industry in Cinefex 151. Here’s what John said about the ILMxLAB approach:

“Early on, we were fascinated by the computer game Myst. Not the puzzles and the gaming, but its idea of a story explorer and sandbox play. We had arrived at this premise that cinema captures a linear story throughout which you are introduced to characters and see fantastic places. But what if you take away the framing of the media and say that these places are actual destinations? Story could flow through these places and you could follow it, but if you chose not to you could still explore and interact with this space. Our work converges on fascinating areas of research — for example, intelligent characters, reactive worlds, simulation in environments. All of those things are perfect for painting a vision of a Star Wars place.”

Star Wars: Secrets of the Empire is available in Anaheim’s Downtown Disney, London’s Westfield shopping center in Shepherd’s Bush, and Disney Springs in Orlando, Florida. New locations coming soon in Glendale, CA, and Las Vegas.

“The Beyond” — VFX Q&A

The Beyond - sci-fi feature by Hasraf Dulull

In the independent sci-fi feature The Beyond, a group of cyber-enhanced astronauts voyages through a mysterious wormhole in space. Following their unexpected return, space experts investigate the enigma surrounding mankind’s first interstellar journey. Structured as a faux-documentary, The Beyond marks the directorial debut of Hasraf ‘Haz’ Dulull who, in addition to writing and producing the film, was the driving force behind its visual effects.

Having cut his filmmaking teeth as a visual effects artist on films including The Dark Knight and Prince of Persia, Dulull later worked as both visual effects supervisor and producer on other projects. Cinefex caught up with Dulull just a few days after the release of The Beyond on streaming platforms worldwide.

The Beyond quad posterCINEFEX: It’s a big leap from visual effects artist to director — or is it? How did you make the transition?

HASRAF DULULL: In between my visual effects jobs I created short films. One of them, Project Kronos, went viral on the Internet in 2013, which landed me a manager in Hollywood and my first feature film development deal with Benderspink, as well as development assignments with Paramount and Twentieth Century Fox. After that, I completed two other short films, IRIS and SYNC, both tapping into my love for grounded science fiction and serving as proof of concepts for feature films. Then came my debut feature, The Beyond.

Watch a 30-minute video on the making of The Beyond:

CINEFEX: How relevant was your visual effects experience as you moved up the ladder?

HASRAF DULULL: You could say working in visual effects was my film school! My career as a visual effects artist was a massive help in knowing how to achieve things digitally, but I only realized I wanted to go into directing when I became a visual effects supervisor, working closely with directors, editors, producers and cinematographers to figure out how to achieve things within budget and on schedule, yet still retain the vision of the story. I felt that I’d picked up enough knowledge and experience working on set and with studios to do that.

CINEFEX: And all of that culminated in The Beyond.

HASRAF DULULL: Yes, that visual effects education allowed me to make this film on an almost impossibly tight budget, and achieve what on the page might have appeared to be crazy-ambitious.

In "The Beyond," written, directed and produced by Hasraf Dulull, human exploration of space opens a gateway to the mysteries of the universe.

In “The Beyond,” written, directed and produced by Hasraf Dulull, human exploration of space opens a gateway to the mysteries of the universe.

CINEFEX: Directing is one thing. How comfortable were you wearing your producer’s hat?

HASRAF DULULL: As producer on a commercial feature film I had to learn how to deal with things like clearances, errors and omission insurance, chain of title, script report, and a whole bunch of paperwork that’s required before a distributor will pick up your film. Thankfully, my co-producer Paula Crickard helped with this. The other thing I learned was the whole sales angle of getting a reputable distributor on board to sell the film in worldwide territories. Other filmmakers advised me that getting the right distributor is a big part in how your film will be released. The Beyond was never designed to be a theatrical film, and doesn’t have big-name actors, therefore I wanted someone with a big reach in the VOD world.

CINEFEX: It sounds like quite a journey.

HASRAF DULULL: It’s been one hell of a journey!

An enigmatic Dark Orb hangs in the sky over Earth.

An enigmatic Dark Orb hangs in the sky over Earth.

CINEFEX: Where did the idea for The Beyond first germinate?

HASRAF DULULL: It really started when I was working on the feature film development of Project Kronos in my spare time. That was great, as I learned so much from working with the executives and producers, but as with a lot of film development it took several years. I didn’t have the patience for that. Also, I was getting a lot of ‘first-time director’ stigma in Hollywood — studios were not keen on taking risks with someone who had only done short films.

CINEFEX: So you broke out on your own?

HASRAF DULULL: Yes. I took back the rights to The Beyond and planned that as my debut feature film. I redeveloped it to make it feel more like Project Kronos — a cerebral science fiction film that blends the realism of documentary with the fantastical ‘big ideas’ of science fiction films today. I’d describe it as a passion project with a commercial angle.

CINEFEX: Did things move faster once you were working independently?

HASRAF DULULL: Well, I spent a year developing the script, then raised the finance personally and gathered my team — the same people who had supported me on my short films including my cinematographer, Adam Batchelor, music composers, Zelig, and my visual effects support team. I had a good relationship with Blackmagic from using their cameras in my short film SYNC, so they came on as a technology sponsor, and I edited and post-finished the film in DaVinci Resolve 14. Adobe provided me with some access credits to their Adobe Stock library — The Beyond used stock footage for many of its supporting scenes, which we later augmented with visual effects. During the later stages, one of the co-producers, Lee Murphy, brought in a private investor who saw the rushes and was impressed with the fact I had the balls to finance my first film. He put in finishing funds to help get the audio mixed and finished.

For some shots, visual effects augmented NASA stock footage with CG and digital matte painting elements.

For some shots, visual effects augmented NASA stock footage with CG and digital matte painting elements.

CINEFEX: You mentioned using stock footage. How extensive was the live-action shoot, and where did you stage scenes?

HASRAF DULULL: A large portion of the film was shot like a traditional documentary with a guerilla feel — I wanted to shoot as much as possible in real locations. We were very lucky to get locations such as the UK’s National Space Centre in Leicester, rooftops at Malaysia’s Asia Pacific University, and Iceland for the alien planet. We shot interview scenes at the Escape Studios visual effects training facility in West London, and found an exterior location near York for the military scenes.

The Human 2.0 program spawns robotically-enhanced astronauts perfectly adapted to deep space travel.

The Human 2.0 program spawns robotically-enhanced astronauts perfectly adapted to deep space travel. Visual effects embedded live-action of actress Noeleen Cominsky into a digital exosuit.

CINEFEX: What about the Human 2.0 laboratory? Surely you had to build a set for that?

HASRAF DULULL: That was a combination of a real location — a school design and tech classroom — augmented with great production design. Our production designers, Silvija Meilunaite and Oliver Spiers, really took an outside-the-box approach, sourcing materials and building the set in a single day ready to shoot the next day! We did extensive previs for those scenes by visiting the location in advance and taking tons of photos — that helped us figure out how to transform the room.

Production designers, Silvija Meilunaite and Oliver Spiers converted a school classroom into the Human 2.0 laboratory.

Production designers Silvija Meilunaite and Oliver Spiers converted a school classroom into the Human 2.0 laboratory, into which the CG Human 2.0 character was composited.

CINEFEX: Same thing with the Mission Control room?

HASRAF DULULL: Pretty much. That was another big school classroom that we converted. We rented several large screens hooked up to Hewlett Packard laptops, and loaded up pre-rendered animated screen content on those and all the classroom computer screens. Our art department worked their magic by adding props on the desk and making it look busy. We referenced NASA a lot.

For mission control scenes, filmmaker Hasraf Dulull created pre-rendered screen graphics and used them to fill screens in a converted schoolroom set.

For mission control scenes, Hasraf Dulull created pre-rendered screen graphics and used them to fill screens in a converted schoolroom set.

CINEFEX: Did you shoot on stages, or use greenscreens, at any point?

HASRAF DULULL: No, we didn’t use any greenscreens or bluescreens. The only stage we used was for the ‘white room’ astronaut scene, which we shot over at Asylum FX in London. We had an actor wearing an astronaut suit and used brightly exposed lighting to give a surreal feeling, which we augmented further in visual effects.

Hasraf Dulull discusses a scene with actor Wes Nike on a white stage at Asylum FX.

Hasraf Dulull discusses a scene with actor Wes Nike on a white stage at Asylum FX.

CINEFEX: So how long did the shoot last?

HASRAF DULULL: In total, it was somewhere around 20 days. The shoot was staggered throughout 2016 because we needed to fit it around actors and location availability. We shot additional scenes in the summer of 2017 during the final stages of postproduction.

CINEFEX: With a film like this, postproduction means a whole heap of visual effects. You did most of that work yourself?

HASRAF DULULL: Yes a lot of the work I did do myself, but with support on the Human 2.0 CG scenes from Filmmore in Amsterdam and Squint VFX in London. I also had a small team of trusted freelancers that I worked with to provide additional support where needed.

Human 2.0 digital asset by Charles

Human 2.0 digital asset by CG supervisor Charles Willcocks.

CINEFEX: The Human 2.0 characters are kind of the poster children for The Beyond. How did you go about creating them?

HASRAF DULULL: They’re the next generation of astronauts, so it was important they looked cool yet not too fantastical. I originally wanted to do them as practical suits, but after some tests this proved to be too costly and limited us in so many ways. So, the digital approach was the only way to achieve it. I mapped out the workflow beforehand and then shared my plans with CG supervisor Charles Willcocks and on set visual effects supervisor John Sellings. I think that gave them the confidence that their director wasn’t a madman!

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CINEFEX: You created the suits in CG, but kept the actors’ faces. What was your methodology during the shoot?

HASRAF DULULL: The actors wore custom tight-fitting grey suits with tracking markers. We didn’t record any dialogue — that was all done later in ADR. For each setup, we used two witness cameras to capture angles not visible with the main camera, and we shot a chrome ball for HDRs using a digital SLR camera at bracketed exposures, plus a grey ball for lighting reference. We recorded other data like camera distance, height, lens, field of view, on paper and then photographed that with an iPhone as well as a Ricoh Theta 360 camera to store digitally.

CINEFEX: Who handled the data capture?

HASRAF DULULL: Dan Newlands — he was my on-set tracking supervisor. John Sellings then organized the data in a labelled folder structure linked with the scene number on the slate.

Actress Noeleen Comisky on set with prosthetics, harness and body tracking suit (photograph courtesy of Nina Baillie).

Actress Noeleen Comisky on set with prosthetics, harness and body tracking suit
(photograph courtesy of Nina Baillie).

Tracking supervisor Dan Newlands takes lighting reference on the Human 2.0 laboratory set.

Tracking supervisor Dan Newlands takes lighting reference on the Human 2.0 laboratory set.

CINEFEX: So, you captured the performances, plus peripheral data. What came next?

HASRAF DULULL: I would edit the sequence, lock the edit and export each shot as frames with a neutral tech grade applied. In Maya, the matchmove artist would track each plate using the camera data, and place the Human 2.0 asset in the correct world-space position against the footage. Then the animator would roto-animate the rigged asset over the actor’s performance, resulting in a file tagged with ‘ANIM.’ While all that was taking place, a CG artist would light the scene with V-Ray shaders using the HDR and lighting reference. As each animated shot was signed off, the lighting setup would be brought into the animation to create a new file tagged ‘LIGHTING.’

CINEFEX: So at that point it was ready for rendering?

HASRAF DULULL: Right. Once lighting was signed off, we’d render out passes for compositing — beauty, matte and so on. The CG artist would often do a precomp at that point, before sending it all to compositing.

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CINEFEX: We’ve seen lots of weird dimensional anomalies in feature films recently. How did you approach making the wormholes in The Beyond?

HASRAF DULULL: Oh, the wormhole sequence was one of my favorites to work on! I didn’t want to have complex CG simulations as it would take too long and we didn’t have access to big render farms. So I took a compositing approach using cool abstract CG elements generated by Aleksandr Uusmees in Houdini. I then applied various distortion techniques in After Effects — such as lens distortion and warping — plus glows, displacements and keyframe animation to give additional movement. We rendered those comps out at 6K so I could distort them further in Resolve during the online editorial effects stage.

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CINEFEX: Did you take a similar approach to those undulating spheres that hang in the sky?

HASRAF DULULL: The Dark Orbs took a while to design. I provided Alek with tons of images and textural references, then he used Houdini to create procedural textures driven by simulations — he sent those out to a cloud-based render farm. I used those CG passes in tons of shots, compositing the orbs into live-action skies.

Mysterious Dark Orbs descend upon planet Earth.

Mysterious Dark Orbs descend upon planet Earth.

CINEFEX: You mentioned that various people supported you with the visual effects. Apart from those you’ve already mentioned, are there any other names you’d like to shout out?

HASRAF DULULL: Of course! Rhys Griffin handled the Human 2.0 rigging in Maya and generated CG passes for a Human 2.0 skeletal scene using Blender. There was also Andrea Tedeschi, a long time collaborator, who did the CG and comps for the spacecraft carrier and rendered out the CG astronaut passes. Hussin Khan looked after the Malaysian team who provided rotoscope support and basic comps. JM Blay designed and created key motion graphics sequences, and Territory Studio created the awesome end titles and credits sequence. Although I designed all the visual effects, this film would not have been possible without the support of everyone who worked on their assigned sequences and shots, and generated tons of CG assets for me to use in comp.

The Beyond - Human 2.0

CINEFEX: The Hollywood Reporter has quoted you as saying you want to “do for sci-fi what Blumhouse did for horror.” Is The Beyond your first step towards achieving that goal?

HASRAF DULULL: Absolutely. We want to make films smartly when it comes to budget and production execution, but most importantly we want to have a commercial route to market on those films. Blumhouse does this so well for the horror genre, and the production company I’ve just co-founded, HaZFilm, has that same ethos with sci-fi. The Beyond is the first film to demonstrate this.

CINEFEX: So what’s next?

HASRAF DULULL: I recently delivered my second feature, Origin Unknown, which is being sold by Kew Media Group. It stars Katee Sackhoff of Battlestar Galactica fame, and will get a release date for later in 2018. And HaZFilm has a slate of other projects for film and television at various stages of development and production.

The Beyond is now available worldwide from Gravitas Ventures on iTunes, Vimeo On Demand, Google Play, Amazon Video and other digital streaming platforms. For links visit the HaZFilm website.

Watch the trailer for The Beyond:

Images copyright 2018 © by HaZFilm.