For over four decades, Robert Zemeckis has consistently dazzled audiences with his pioneering work in visual effects and animation. With a portfolio that includes iconic films such as Who Framed Roger Rabbit, Back to the Future, and The Polar Express, Zemeckis returns with his latest venture, an adaptation of Richard McGuire’s graphic novel Here. The film, which explores the history of a specific plot of land in America, spans from prehistoric times to the present day and employs a unique filmmaking technique: it utilises a single camera position and lens to weave together multiple timelines.
Production VFX supervisor Kevin Baillie, who has collaborated with Zemeckis on numerous projects, highlighted the complexity of integrating the film's eight different storylines, which transition fluidly rather than chronologically. "The language of the time transitions evolved throughout the editorial process,” Baillie explained in an interview with Animation Magazine. He elaborated on how Zemeckis had filmed numerous options, allowing for flexibility in pacing and storytelling. Some transitions even required 22 to 23 different scenes to create seamless narrative shifts.
One of the most innovative aspects of the production was the use of LED walls to create realistic backdrops in real-time. Baillie detailed the set design's intricate challenges, stating, "What seems that you just build a neighbourhood outside of the window is actually 80 different stages." This technology facilitated real-time adjustments according to the directors' creative input, rather than relying solely on postproduction enhancements.
The implementation of machine learning technology also played a pivotal role, particularly in the de-aging process of characters played by renowned actors such as Tom Hanks and Robin Wright. Baillie remarked on the advancements machine learning has brought to visual effects, saying, "With the machine-learning approach, literally Take 1 out of the neural networks is out of the uncanny valley." He noted the importance of involving the actors in the process to retain nuances of their performances.
The timely use of digital effects extended beyond just the character appearances. Baillie pointed out that the visual effects could be displayed in real time on set, allowing actors to see their younger selves while performing. This level of integration offered the director and actors a collaborative tool, enhancing the filming experience.
Exceptional care was taken in the production, considering the film's narrative style and the choice of camera position. Baillie noted, "If you think about the challenge of choosing a camera position and lens for this movie, it’s wild because Day 1 of shooting, Take 1, the first scene that you shoot, you have made every camera choice for the entire movie." The implications of such a fixed perspective generated a significant knock-on effect for both the locations and the story itself.
A constant character throughout the film is a hummingbird, symbolising the presence of Indigenous history intertwined with the narrative. Baillie shared that attention to detail was vital, remarking on the character’s significance and the technical challenges of animating it: "Hummingbirds have this iridescent sheen... so if you cheat with the feathers it doesn’t look right."
Ultimately, the film, which features a total of 185 to 200 shots, has relied on the expertise of several visual effects studios, with Dimension Studio managing the LED wall effects, DNEG serving as the main vendor, and Metaphysic overseeing the de-aging technology. Baillie concluded his discussion of the project with a nod to the future of filmmaking and AI tools, affirming that Here represents a significant step forward in creative capabilities. "The hopeful note that I want to end on is that I know people are trepidatious about some of these AI tools, and Here is a great example of a film that wouldn’t have been able to be made without them," he stated, underscoring the potential of technology in enhancing storytelling.
The film, released in theatres by TriStar Pictures in November, embodies the marriage of traditional filmmaking with cutting-edge technology, reflecting both the nostalgia of Zemeckis's past works and the forward-looking potential of contemporary cinema.
Source: Noah Wire Services