Our entry consists of excerpts of our visual effects work for the 1998 Universal film Virus. Virus tells the story of a giant marauding, extraterrestrial lifeform that manifests itself aboard a Russian science vessel in an attempt to battle the human “virus” which struggles to prevail against it. Tippett Studio used computer graphic technologies to met the challenge of perfectly creating a CG version to match the full scale puppet of Goliath, this giant, complex, robot which was comprised of over eleven hundred parts.

Many technologies were used to model, light, composite, and animate the subtle, yet powerful performance of Goliath, one of the most complex CG characters ever created. Tippett Studio was contacted halfway through principal photography to match the practical Puppet with the CG version. Craig Hayes supervised the visual effects and scrutinized the puppet, taking comprehensive measurements prior to commencing the complex and detailed model which even reflected the K-Y jelly and red food coloring smeared on the puppet. The Art Department worked up textures and surfaces for Goliath working with the programming department to develop a variety of shaders.

With all the moving parts there was the potential for Goliath to appear too busy, so we monitored the pantomime to insure that it kept looking like what it was—a multi-ton metal object charging around. Getting all the subtle little bits on sixteen-frame push-in shots of Goliath was a challenge, because we had to capture the live-action lighting precisely. Because the files were so huge, Julie Newdoll, our lighting supervisor spent weeks figuring out a way to render and light Goliath. Footage of the full-sized prop on set, while useful as lighting reference, often handicapped the animation as really huge things can’t be choreographed very well.

Then our challenge was to composite the CG Goliath model, matching the look of surrounding shots that were filmed with an animatronic creature equipped with strobe lights, laser beams, and a spot light on his head. First, each shot required creating 2D light beams and strobe flashes, which interactively lit the renders and the plate. Then, we used CG and photographic elements—dust, steam, fire and even electric arcs to make the shots convincing and for dynamic effect.