Issue link: https://digital.copcomm.com/i/1485934
1 0 0 P E R S P E C T I V E | N O V E M B E R / D E C E M B E R 2 0 2 2 VFX/SFX The film had a substantial list of both practical and visual effects to heighten Aisha's moments of mental collapse, as well as to materialize the physical embodiment of Anansi and Mami Wata. Brian Marino at FuseFX was responsible for the VFX work surrounding Mami Wata, including her underwater movement, nictitating eyelids, waving hair tendrils and her submerged mermaid tail—created using a CG body extension. We went back-and-forth with how we were to shoot the swimming pool scenes. Specifically, how we were to spatially divide Aisha from the water creature and build out the aquatic environment around them. To help visualize how the scene would play out, we referenced Caroline Brewer's insightful storyboards. Because the creature was to break the surface of the water, it was vital that each department weighed in on how to practically produce this look. Initially, it was believed that a green screen cyclorama would have to be placed underwater running the width of the pool. This would enable the ability to digitally manipulate the lower limbs of both actors and create a murky water habitat. Ultimately, this work and world had to be simplified for time. Production had only one day to prep/rig the swimming pool location. We decided to ditch the environmental surroundings and focus on the SFX hair/makeup and practical fishtail created by Risha Rox and Taking Shape Creature FX respectively. The Art Department worked extensively with SFX coordinator Ben Harris to achieve the more A. SFX "WATERBED" FEATURING SFX COORDINATOR BEN HARRIS AND STUNT COORDINATOR MANNY SIVERIO. SET PHOTO. B. GUEST BEDROOM WATER INTRUSION CONCEPT ART. CREATED IN PHOTOSHOP BY JONATHAN GUGGENHEIM. C. SFX BATHTUB. SET PHOTO. D. GUEST BATHROOM. STAGE BUILD. SET PHOTO. E. GUEST BATHROOM. STAGE BUILD FEATURING CHARGE SCENIC GERALDINE POPE. SET PHOTO. F. AISHA'S BATHROOM. PRODUCTION STILL. literal water intrusion that occurred in our stage builds. After placing the bedroom and bathroom sets within a waterproof membrane, Ben was tasked with fabricating plastic weirs that would alter the flow characteristics of water leaking into the guest bedroom set from the ceiling above. It was apparent that Rina wanted a "spider cam" to be crawling across the bedroom floor angled up toward Aisha just as the cascade of water entered the room. It needed to be conceivable that the leakage could have been caused by damaged pipes and was not just a premonition. The height of the existing room on location helped us greatly, as we built the room to match. With assistance from VFX house, Break + Enter, we were able to shoot plate shots of the existing ceiling and stitch them together in post. We provided reference images of waterlogged sheetrock laden with mold for the final digital enhancement. Admittedly, navigating the conversations between VFX/SFX simultaneously was a learning experience. Many decisions that were to be produced in post had to be made in real time in order to inform the functionality of our sets. Aisha's Environments In order to create a contrast between lifestyle and location, the team leaned into the sun-soaked colors of traditional African art and wardrobe. I would frequently communicate with costume designer Charlese Antoinette Jones to discuss A B