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Over the years, Farrar has overseen several oners while at ILM where visual effects were involved-whether they be long Steven Spielberg shots in Minority Report, or elaborate moments in Michael Bay’s Transformers films. So that’s what ended up in the movie.” Oners and VFX: Farrar’s faves
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“John kept asking all of us, which one do you like? I liked the one that’s in the movie the best, because we got so close to that bus. “I think we did two really good takes,” comments Farrar. Ultimately, the street driving scene came to be via a massive collaboration of stunts, practical and digital effects with two days of rehearsal and a one day shoot. So we would use someone or something for composition for the camera operator but most of the time we shot it clean with nobody in there.”
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But in this second film, everyone was kind of familiar with how to do it. “On the first film we always had a stunt actor in a green or blue or marker suit, and even John dressed up in that.
Here, Farrar says they generally didn’t rely on any particular creature stand-in or stuffie (a stand-in known as ‘Happy’ was used for some shots in the film, however). ILM was then called upon to seam together missing parts of the car’s roof and craft the creature shots in this oner. There was even an air-bag gag that was rigged to simulate the bus hitting the car, and it happened to make the camera ‘break’, a moment that was kept in the shot because it happened to go closer on Blunt and fit the mayhem of the scene.
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“There’s the camera team and grips and stunt drivers backing everything up around the street, but Emily’s there, alone, on a really great stunt ride.” Farrar (at left) surveys a scene for later in the film. “It stuck to the top of the Volvo and could pan around and look everywhere,” says Farrar.
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Inside the car, a series of camera rigs were employed, including a CMOCOS (Camera Motion Control System), a robotic arm that could be pre-programmed with specific moves to slowly move around and show the action.
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There’s a driver up there, he’s in control of the car and Emily just mimes driving.” “The driver actually sits up on top of a big framework of rigging that sits on top of the Volvo. “It’s a motorized platform, all electric, so it makes no noise,” describes Farrar. To orchestrate the stunt, production rigged the car-a Volvo buck ‘pod’ with no wheels-on a low trailer platform. The idea with that scene, relates Farrar, was that the audience at that stage “does not know any more than what Emily’s character and the kids know in the car,” adding to the intrigue and suspense about what might happen. A smashed up bus coming right for the car forces Evelyn to quickly reverse, and we see a creature emerge from the front of the bus just as the car smashes. We segue into a new oner with Evelyn and her sons in their car, following along as she makes her way down the panicked street, including past one of the creatures. The studio also, of course, crafted the CG creature and integrated it into the crash for the dazzling moment that kicks off the chaos. Under the watchful eyes of ILM visual effects supervisor Jason Snell and animation supervisor Rick O’Connor, the ILM crew would then stitch together the plates, paint out any parts of the frame that shouldn’t be seen until they needed to be seen, and paint out parts of the rigging on the car. We chose to do the wipe while John is sliding out of his car.” We had to do a wipe with the cameras going from part A to part B. “Everybody’s got to just wait, and then you’ve got to realign the camera. “That rigging change-over takes about an hour or so,” adds Farrar. “The special effects riggers had to come in and drive the real cop car out and put in the fake one on a flipper unit.” Scott Farrar (left) with director John Krasinski on set. “The tricky part here was that the police car has to drive up and then it’s got to be mounted on a device that slips it into the building,” outlines Farrar. He exits his vehicle, chats to the officer, when a creature smashes into the police car, and into a shop, with Lee running back to his vehicle-all in one shot. In the first oner, Lee is seen inside his own vehicle with his daughter before noticing a police car coming up behind them.
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