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The Tomorrow War may seem like another "cookie-cutter" action movie about America saving the world, and if we're being brutally honest, it probably is.
It has a heartfelt storyline...
The heroic action scenes...
The cheesy catchphrases... and thankfully, some awesome visual effects.
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Deepswell was an insanely big CG environment.
Principal photography was shot at an Atlanta power plant called Georgia power, this plant was scanned and reproduced digitally and the rest of Deepswell was built around it.
Weta used a modular system to build Deepswell from a variety of smaller structures that were assembled from individual modular components which were propagated and reused.
Once the bare bones were there, they then added thousands of details such as grated floors, vents, complex pipes, and ducting.
For the hoard of aliens attacking Deepswell WETA used its propriety crowd tool "Massive".
This tool uses AI and learning data on how the aliens move to animate them and then something called "Fuzzy Logic Rules" which enables each asset to automatically avoid obstacles, adapt their motion to the terrain, and even identify a potential target and approach it.
The alien enemies in The Tomorrow War are called the Whitespikes.
The brief given for the design of the Whitespikes was that they had to be quick and agile.
They were killing machines and every part of them had to look dangerous and make you feel that you could get hurt by just looking at them
The design process started with a variety of concept artwork created following the brief.
Once they had decided on the anatomy and aesthetic of the creature in 2D it then had to be designed and sculpted into a 3D model. The practical version was done by Spectral Motion and in addition to producing individual parts of Whitespikes to be used as props they also produced a scale model with animatronics
The digital Whitespike asset was mainly produced by WETA digital, who, after creating a 3d digital model then had to do motion tests, understanding exactly how the Whitespike carried its weight, how it moved, and also how fast it could move, and how high it could jump.
One of the complicated things about filming a movie with aliens that don't really exist is that those aliens don't really exist!
The filmmakers had to use a wide range of different techniques to sell the interaction between actors and aliens.
They used stand-ins in gray suits, poles with markers for the actors to look at, and a number of different puppets. Including this one, called "The Football" that was used to interact with the Whitespikes tentacle.
In this scene, three Humvees attempt to rescue Dan's squad.
Not all the Humvees are real, can you tell us how many are CGI?
answer at the end of the video.
The Pre-visualization stage is extremely important in any movie, but for a sci-fi action film, perhaps even more so.
The Third Floor created a low-res 3D digital animation of how each scene would look.
Not only did this help the Director know where to position cameras, lighting, and how to frame each shot, but it also helps the special effects teams to identify which shots require special effects and the complexity of those effects, the VFX teams to identify which shots will require visual effects and their complexity, and the set designers to understand how much of a physical set needed to be built, what needed to be a green screen, and what needed to be functional.
Despite The Tomorrow War's simplistic and somewhat flawed plot and its typical alien sci-fi movie screenplay, the movie itself is actually enjoyable to watch and this is mainly because it was well planned and well-executed.
Take a look at the "Capturing the Female" scene.
Previs gave a rough idea of how the scene should look
A set was built and principal photography was shot but always using previs as a reference as to where the points of interaction between the physical and visual effects were. For example, On a bluescreen set, the helicopter is attacked by whitespikes and loses control.
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