Issue link: http://digital.copcomm.com/i/990311
8 4 P E R S P E C T I V E | J U L Y / A U G U S T 2 0 1 8 The ARV was made up from a combination of a motorcycle visor, a welding helmet and some extra pieces that were 3D printed. Electronics were added to make it more real, but digital effects were used to bring this prop to life. The Mem Drives were CNC routed from a hard plastic and styled in a similar retro fashion to the pods. A prop company in Canada made the Brain Mapper. It was capable of some animatronic movements, but due to speed and other complications, those features were not used. Instead, digital effects provided movement in post and this worked brilliantly. The robot in the film is entirely CGI. Jose and I, together with the director, came up with the original concept, which was later enhanced by the digital effects team. Most scenes were filmed with an artist in a motion capture suit. Other built sets included the entire upstairs of the Foster home (the real house was expensive to shoot in and not suitable for the action), as well as a basement. The rest of the film was shot on various locations, most of which required some construction elements and set dressing. The crew on the film was the biggest asset. I was astonished by the level of talent and how hardworking they were. Without the locals, this film would not have been possible. I rate this as one of my best experiences of my career and really hope the film is well received. ADG C A A. ARV VISOR, CONCEPT ILLUSTRATION BY JOSE VEGA. B. BRAIN-MAPPING DEVICE WORN BY KEANU REEVES. C. SET PHOTO FEATURING ARV VISORS. D. MEM DRIVES, CONCEPT ILLUSTRATION BY JOSE VEGA. E. PHOTO OF MEM DRIVE IN CARRYING CASE. F. MEM DRIVES IN FOREGROUND OF LABORATORY SET. G. ACTOR IN 345 MOTION CONTROL SUIT ON SET. H. ORIGINAL ROBOT CONCEPT ILLUSTRATION BY THE VISUAL EFFECTS TEAM HEADED BY GUNNAR HANSEN. B