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Twenty-eight VFX vendors contributed to the effort
Key vendors for Season 4 included Rodeo FX, Important Looking Pirates (ILP), Digital Domain, DNEG, Lola VFX, Crafty Apes, and Scanline VFX.
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The Demobats are a new menace introduced in Season 4.
They started with concept artwork from Michael Maher and did animation tests because the creatures had to somehow walk and climb like a spider but then fly like a bat or a large bird.
The rigging was the biggest challenge because the creature can do so much with its body, even use its multiple tails to grab and strangle.
The Demogorgon in Season 4 had to be refined.
The proportions of its arms and legs were changed so that its ankle position was higher up the leg and its arms were elongated so that it could slash and (because it was now a prisoner) they also made him a whole lot leaner.
This shot was DNeg's most difficult shot and therefore their biggest challenge.
It had five different plates, four live-action characters, 1,600 frames, over a minute and a half in length, three CG bats in a CG environment, and all with a constantly moving camera.
From the roto and prep, to the body and camera tracking, and stitching of the multiple plates, to specific animation of the bats and EFX, the complex shot took 5 months to complete.
One of the most challenging and iconic environments was Vecna's Mind Lair. Rodeo FX built close to 200 shots in that environment. It was a real challenge to come up with an environment covered by spires, fog, and sudden storms.
Scanline had to create rifts of all shapes and sizes so it was challenging to find a look that worked in all contexts.
They settled on a formula of 5 elements: RBD simulations, fleshy mold that spread from the sides of the rifts, an organic membrane that spanned the gap, vines that slithered out from below, and red volumetric lighting coming from the Upside Down.
The Mind Lair was actually a semi-practical set so Rodeo took a procedural approach based on the LiDAR scan of that set. That way they were able to keep the look and feel of it while generating a seemingly infinite environment.
It was a large volume of shots with a lot of art direction, and a real test for their compositing team.
Vecna started out as concept artwork that was digitally sculpted and adapted to fit Jamie Bower's physical dimensions.
This digital model was then 3D printed to make the practical suit he wore on set.
This scene was actually shot without reference points or stand-ins to play the Demogorgon, so the animation team had to animate their digital asset in order to make it coincide with the camera movements, the timing, and the choreography of what they shot on set.
Stranger Things Season 4 was meant to be bigger, better, and more intense than any of the previous seasons as they ramp things up for the final season, and it looks like they achieved that.
It has a longer run time, a higher shot count, and a higher budget.
More than 4,000 visual effects shots spread over about 13 hours in nine episodes and a total estimated budget of around $270 million!
But Stranger Things VFX shots haven't just grown in quantity, they've also grown in quality, complexity, and variety.
With any series that becomes a hit, there is always a risk of overusing visual effects in an attempt to make the story more impressive, to increase the consequences, and to make the audience feel like they're getting more bang for their buck.
But Stranger Things VFX are there simply to serve the story and as the story itself becomes more deep and complex, they do to.
This has not only left us thoroughly impressed by the current 4 seasons but desperately impatient to see the last.
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