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In this VFX breakdown of The Adam Project, we're going to take a look at some digital sets that were rendered in real-time, The CG MagCyl and other Sorian Tech, the necessity for CG trees and foliage, and for some reason, a CG leg.
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DNeg was tasked with creating the Sorian Jet and the Time Jet. The brief for the Sorian jet was that it had to be like a big, dark, and sinister tank that was capable of flying very fast and the Time jet had to be a very fast and nimble military vehicle. Although the briefs for the two vehicles were different, both had to look like futuristic technology without looking too sci-fi or otherworldly. The Sorian jet was almost entirely CG, in fact, the only physical set built for it was this blue screen doorway from which the time soldier surfers emerge. And the only physical set that was for the Time jet was this partial cockpit which was attached to a gimbal to allow the filmmakers to pitch and tilt it depending on the needs of the shot. Even though the cockpit was practical, CGI was still used to add details to its interior and to remove the wires they used to make young Adam appear weightless in this scene. And because the wires still weren't quite enough to sell the look that little Adam was really floating around, they also added this CG leg.
The safe house and its backyard were a practical set built in a hockey stadium. The forest in the background was extended digitally, and, because the practical set had artificial grass that didn't look "Grassy" enough, it also, had to be CGI. As were these trees in this car chase scene because the forest wasn't "Foresty" enough and all the foliage beneath and around the car here because it wasn't "Foliagey" enough and these time soldier surfers here were also CG and this car door... In fact, the car the actors were in was never even driven in the forest at all. It was actually all filmed on a set with the car on a rig and in front of bluescreens.
Scanline (amongst other things) was responsible for the “MagCyl” as well as the Time Soldier weapon effects. For the MagCyl, there were a variety of concepts done by the production team, which formed part of the final design.
In addition to the actual digital prop, they had to develop the MagCyl’s various electromagnetic discharges and how the MagCyl could pulse energy into an environment, stop bullets via an electromagnetic shield, or help Adam jump into the air. The final result for all of these effects ended up being a blend of multiple Houdini renders and compositing passes that brought the MagCyl to life in the film.
For the particle accelerator scene, the platforms, stairs, and part of the particle accelerator were all a practical set but almost everything else in the scene was CGI.
Due to the complexity of the scene, a lot of interaction was required to happen between the actors and the set itself, this is a tricky thing to do, especially, when your set is mainly CGI.
The overcome this problem Scanline built a low-res version of the digital set before principal photography, then with the help of some cutting-edge technology and an iPad, they were able to point the iPad toward the part they wished to see and view that area of the digital set in realtime.
This allowed the director to explore the set and design shots from angles and elevations that previously, would have been missed or wouldn't have been possible.
And this meant the Director could see both the physical and the digital at the same time and actually know (in the moment) that he had a thoroughly convincing effect, without having to take a leap of faith.
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