The Lola team also altered Evans’ face for those “skinny” scenes, shrinking his jawline. “That was by far the most challenging part.” “So we had to replace the fabric and the shirt and whatever was behind his arm with something,” says Williams. One unexpected problem: Evans’ bulked-up arms were simply so big - “like tree trunks” says Williams - that in profile they’d block as much as a one third of his body. “If it was at all possible, we did the ‘Steve slimming.’?” That entailed starting from the original shot of Evans doing the role, then shrinking him down. “In post, we’d decide (which of the three styles) was the best technique,” Williams says. That sped up shooting and saved money in production, but made Lola’s work somewhat more expensive and difficult. ![]() Without motion control rigs, the different versions of the shot didn’t match perfectly. On the set, the camera team captured each shot three times: Once with Evans doing the performance, once with Deeny doing his best to match Evans’ performance, and once “clean” - without the character of Steve Rogers in the shot at all. They nicknamed the approach, “Steve slimming.” So the Lola team had to invent a method for shrinking him down. “That was mandated by the director and the studio, because they wanted Evans’ performance,” Williams says.Įvans, too, resisted the use of a body double except where absolutely necessary. For another 10% or so, Evans’ head was attached to Deeny’s body, “Benjamin Button” style.īut the vast majority of shots, according to Williams, were done by digitally shrinking Evans’ own face and body. Lola vfx supervisor Edson Williams says the company’s f/x techs used three separate techniques.įor about 5% of the shots, he says, Evans’ face was digitally attached to a body double, Leander Deeny, using the same method developed for “The Social Network” to put Armie Hammer’s face on a double. ![]() Lola Visual Effects, the Santa Monica-based studio that specializes in digital cosmetic enhancement, did Evans’ slenderizing.
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