In February, Zoic’s “Dominoes” spot for the NASCAR Nationwide Series broke new ground in computer graphics for television. (Read the story here.) Now the Culver City, California-based studio has produced the second spot in the series, which retains the visual style of “Dominoes” but is quite different in story and tone.

The new spot, entitled “Variables,” is the story of the things the drivers and pit crew can’t plan for during a race, according to Zoic executive creative director Loni Peristere, “and how those variables affect the outcome of the race – who’s going to win, who’s going to lose.”

Watch “Variables” on ZoicStudios.com

The origins of “Variables” go back to the beginnings of the campaign. “The Nationwide campaign is a series of commercials that were originally pitched and presented by [New York-based advertising agency] Wieden+Kennedy,” Peristere says, “that we at Zoic partnered on for the duration of the campaign. We started in the earlier part of November last year, with [Wieden+Kennedy producer] Dan Blaney, [art director] Cyrus Coulter, [writer] Luke Evans, and Heather Larimer, under the auspices of Stuart Jennings, our creative director from ESPN.”

“The good thing about Wieden+Kennedy is that the producer is looked at as a ‘third creative,’” says Blaney. “I have that point of view throughout the process. That’s important to me.”

“We worked with the Wieden+Kennedy team to come up with the look, tone and feel for not only the commercials but for the entire campaign,” Peristere says. “If you see the Nationwide footage on ESPN right now, you’ll see our style, the stark black & white with blue highlights, used throughout the promotional material in the campaign. We worked originally with [Zoic creative director] Derich Wittliff and Darrin Isono to create keyframes that became the foundation of the look, feel and tone of the entire campaign.”

Footage of the racers for both spots was shot on location in Florida at the close of last year’s Nationwide Series. “We picked up the actors the day after their very last race of the season,” Peristere says. “And Kyle Busch, the star of ‘Variables,’ had just won the championship. We got to play with him a little bit, and his cohorts, on the shoot day, which was really fun because they were coming off of a long night of revelry.

“A big part of the realism for the drivers’ performances was rooted in my direction on set, where we were walking these guys through the variations of their performances. We had them run through directions like, what do you say to your driver? How do you feel when someone is spinning out right in front of you? When your car is not functioning? How do you react? We went through a series of facial expressions, both passive and active in performance, to capture the fixes that we needed for the spot.

“Both Wieden+Kennedy, and Stuart and his entire team at ESPN, were incredibly gracious with their trust. When we got into Editorial, it allowed [Zoic senior editor] Dmitri Gueer and I to choose the facial expressions we felt would convey the story to the utmost.”

Gueer adds that when it came to choosing the drivers’ performances, “they had to be identical to what the drivers would do on a real racetrack. But the big challenge was that you could take a greenscreen of the driver’s performance, cut it into the offline and go: “This is going to work great!”  Then look at it in the dailies after it’s gone through CG and all of a sudden realize that it no longer works because it is a mapped image that lives in its own environment.

“I really wanted drivers’ performances to work because it is  always about never stopping to want something perfect,” Gueer continues, “so I think I drove our CG guys absolutely bonkers because I kept feeding them non-stop new drivers’ takes to run a test on. In the end I was extremely pleased with how the drivers’ shots worked out. Our CG artists did an amazing job!

I am pretty positive that any NASCAR fan could take a look at the spot now and say ‘that’s totally real, I’m right there with that driver.’”

Peristere points out the differences between the spots. “’Dominoes’ is about an event, this giant crash, and having the wherewithal within the context of a giant 40-car pileup to know how to navigate that destruction.

“‘Variables’ is really about the race; it’s about the nuances of the drivers themselves, and how they react to variables on the track they cannot foresee; and it’s these kinds of qualities that make them great drivers. ‘Variables’ takes place from the white flag to the chequered flag. It’s one lap that we’re examining in great detail.”

“I think the two spots are totally different,” says writer Evans. “‘Dominoes’ has that epic crash in bullet time, everything fades out, and comes back full speed at the end; you have that lull in the middle, that moment where you have to get you bearings. Whereas in ‘Variables’ it’s a storyline from beginning to end. Right away you have to be along for the ride, and follow these details that are happening to get the story.”

Peristere laughs that “Dmitri, our crazy editor, had a lot to construct here; because the storytelling in a 30-second spot, especially in the context of a race, is really hard to track — especially here where it’s not just one event, it’s an entire lap, and you have multiple events. There was a lot of pack in, and Dmitri did a phenomenal job.”

Gueer adds: “From an Editorial standpoint, this particular spot was not easy because you have three drivers, three storylines, and a race that is going on in the background – and everyone wants to win! It’s a lot of story for 27 seconds to tell.

“This spot took a long time to edit and put together because we had to figure out how to tell a credible story, true to the whole NASCAR experience. You start in your mind by shaping the story based on what shots you would use to highlight certain points in the timeline. On top of that you have to have shots that establish the drivers and their identities by what they do on the racetrack, and how they drive or what strategy they use. Plus you have the overall story of everyone else trying to catch up to those drivers and avoid the big tire blow-up. How are you going to do that in such a short period of time, from a storytelling and from an artistic standpoint?

“Working out the timing takes a long time, so does maintaining pacing while telling the story of the three drivers. It was a pretty difficult task. Just like anything else the story has its own arcs, its highs and lows, and all of it had to flow from one cut to another.”

Gueer says that “Variables” was a very “Editorial-driven” spot. “The editor goes to the dailies and makes suggestions and has some creative notes, which is nothing unusual; but I would say that ‘Variables’ consumed me entirely, because everything in this spot is working on a cut-to-cut basis, and certain story points had to be hit for the spot to work, even the placement of the cars and where they are at a particular point in the story. But with great creative direction from Loni, our VFX and CG leads, and our great clients at Wieden+Kennedy, we were able accomplish a spot that I believe we can all be proud of!”

In the wake of the collaboration between Zoic and Wieden+Kennedy on “Dominoes,” a great deal of trust developed between the two teams. “Walking them through the process and working with [Wieden+Kennedy] on the first go-round,” Peristere says, “we set up the parameters and the workflow by which they would understand the second go-round. Honestly it was a very quiet second round of work, where they were partners with us, but not too invasive because they had experienced the process the first time.”

“There was so much work on ‘Dominoes,’” art director Coulter explains, “dialing in everything, the look and feel of it, how the animation plays out; so with ‘Variables’ it was nice, we were able to plug that stuff in and just let the story play out. With ‘Dominoes’ we were down there at Zoic working tirelessly to make everything come together – but with ‘Variables’ we just plugged everything in and it was great.”

Zoic commercial executive producer Erik Press says “the trust continued to grow with Wieden. I think ultimately everybody walked away very happy with the results of some really intense work and some big creative challenges on the CG end. We had a great working relationship with Wieden once again on this. I’m happy that they looked to us to find some creative solutions. We can’t wait to do more work with them.”

“We would all like there to be more,” Peristere says, “ if not on this campaign, certainly with the creative team we work with at Wieden. It was an incredible experience to work with them.”

Blaney says, “We put ‘Dominoes’ on such a pedestal, that our first reaction of ‘Variables’ was positive, but it took us a while to feel really excited about it. But for me, now looking at the finished ‘Variables,’ I can honestly say it may be my preferred spot out of the campaign.

“The client completely loved the it. They were blown away by ‘Dominoes’ — I don’t think anyone expected the end result to be that impressive. They took a leap of faith, especially trying an animation style that’s definitely innovative and new. They put a lot of trust into Loni. It was a very successful campaign for everyone involved.”

“The Nationwide Series is kind of like the ‘minor leagues’ of NASCAR,” Coulter says. “They’re putting a ton of money and effort into their Sprint Cup coverage, and for the Nationwide series there’s just not as big an expectation. So I think it’s really nice we had a come-from-behind win on this, making ‘Dominoes’ and ‘Variables’ so awesome.

Zoic thanks: Michael Cliett, Brian White, Kevin Struckman, Chris Irving, Steve Meyer, Nate Overstrom, Chris Desantis, Chris Jones.

More info: “Zoic Brings Photo-real CG to Broadcast TV with ESPN NASCAR ‘Dominoes’” on IDYE; “Variables” and “Dominoes” on ZoicStudios.com.

This is a series of posts discussing ten existing science fiction properties (from literature, animation, games and comics) that could serve as the basis for ground-breaking live-action VFX films and television shows. This time: Jean “Moebius” Giraud’s 1976 graphic novel The Airtight Garage.

For an explanation of the choices for this list, see the first entry.

Number 7 of 10: The Airtight Garage (US title, comic, 1976), aka Le Garage Hermétique de Jerry Cornelius, Le Garage Hermétique de Lewis Carnelian

In the Before Time, in the Long Long ago, in the late 1970s and 1980s, some movie execs decided it might be a good idea to make a few big-budget effects-heavy comic book movies. So we had two classic films based on DC Comics characters. The first was Richard Donner’s 1978 Superman, a hammy cheese-fest that nonetheless managed to charm the audience, largely via Gene Hackman’s movie-saving charisma and Christopher Reeve’s unshakable determination to play a ridiculous character as seriously as possible. On the other hand, the producers spent literally one-third of the $60 million budget to hire Marlon Brando in a cameo; and Margo Kidder gave a performance as Lois Lane that should have tipped off any competent psychiatrist that she was suffering from bipolar disorder and needed help.

The other was Tim Burton’s 1989 Batman, the first superhero film ever to capture the comic book fanboy’s love for the source material (in this case the uncredited Batman: The Dark Knight Returns by Frank Miller (1986), but that’s a fanboy rant for another blog post). Burton, following Miller’s lead, showed mainstream audiences that comic books can be dark, intellectual, weird, artistic and funny. And Jack Nicholson was a thespian ruminant, chewing the scenery and then chewing it again.

Over time, Hollywood gave us films of all the superheroes the mainstream public, unfamiliar with comic books, would surely recognize; after a steadily declining series of Superman and Batman films, we had Marvel’s Spider-Man and The Hulk. Then the studios churned out films based on properties familiar to comic book fans but new to the general public; The X-Men, Iron Man, Hellboy, Blade, and The Fantastic Four amongst the box office successes; Howard the Duck, Judge Dredd, Mystery Men, The Punisher,  Catwoman, Elektra, and Daredevil amongst the rest.

The next phase – comic book movies that weren’t about superheroes. Some were still science fiction or fantasy – 300, 30 Days of Night, Constantine, The League of Extraordinary Gentlemen. Others took place in the real world — Art School Confidential, From Hell, Ghost World, A History of Violence. But now the comic book world was completely wide open to film and TV adaptation – stories didn’t have to feature Warren Ellis’ “underwear perverts.”

This was good news, because those comic book titles that are the most visually striking are usually not hero titles. Of course there have been great artists working in that medium, from Jack Kirby and Will Eisner back in caveman times to… I dunno, I stopped regularly reading superhero comics when they brought Jean Grey back from the dead in 1986. Yes, I am a grumpy old man. I like J. Scott Campbell, Kevin O’Neill and Howard Chaykin, off the top of my head.

For this series I have chosen an artist who has never worked in the traditional hero genre (except once, briefly), but made his name drawing Western serials in France. His art has influenced generations of artists and production designers, but has never been used as the basis for an entire film.

Jean Giraud became a working artist at age 18, in Paris in 1956. His most famous Western comic book, Blueberry, ran from 1962 to 1974 and earned Giraud his face on a French postage stamp. But he is best known in America for his science fiction and fantasy stories and art, done under the pen name “Moebius.”

In 1974, Moebius and three others founded the seminal adult comics magazine Métal Hurlant; an American version was launched in 1977 called Heavy Metal, which is accidentally displayed in bookstores’ music sections to this day.

One segment of the 1981 Canadian animated anthology film Heavy Metal, containing stories from the magazine, was “Taarna,” inspired by Moebius’ “Arzach” fantasy stories; but the art style was not based on his. (This is the segment parodied in the 2008 South Park episode “Major Boobage.”)

He contributed to several feature film projects. The most notable were Alejandro Jodorowsky’s aborted 1976 project to bring Frank Herbert’s novel Dune to the screen as a ten-hour feature, with Moebius and Alien artist HR Giger doing original production art; and Luc Besson’s 1997 The Fifth Element, perhaps the only live action film in which Moebius’ elements (the Mondoshawan ships, the Flying Noodle Boat) appear recognizably as he designed them. Other films on which Moebius worked: Alien (1979), Blade Runner (1982, uncredited), Tron (1982), Masters of the Universe (1987), Willow (1988) and The Abyss (1989).

His most famous creation is a bizarre, stream-of-consciousness science-fantasy graphic novel originally called Le Garage Hermétique de Jerry Cornelius, released in the US as The Airtight Garage by Marvel under the Epic Comics imprint. The Airtight Garage was written, drawn and colored by Moebius, four pages at a time, as a game with himself to introduce irreconcilable plot strands in each segment, and then reconcile them later. As a result, the “story” does not exist as such, at least not until the final 15 pages, which were drawn all at once to bring the tale to a conclusion that parodies superhero comics and leaves the reader with more questions than answers.

In rough outline, the Hermetic Garage of the title is a large asteroid containing a much larger artificial world on the inside (“hermetic” in this case is used to mean both “airtight” and “esoteric”). The Garage was created by Major Grubert, an immortal human from Earth who is locked in ceaseless battle against another immortal, Lewis Carnelian. Eventually, these mortal enemies must join forces to prevent the destruction of the Hermetic Garage by an evil alien known as The Bakalite.

Nearly every panel of the comic contains characters, images, references, jokes and invented words that hint at entire worlds, civilizations and conspiracies just beyond the frame’s edge. Hardly anything is explained, not even the backgrounds or motivations of the two main antagonists.

An animated feature adaptation of The Airtight Garage, to be produced by legendary Japanese filmmaker Kurosawa Akira (!!!) and directed by Otomo Katsuhiro of Akira (1988) fame, fell through in the mid-1990s.

So why on Earth would you use The Airtight Garage as the basis for a big-budget, live action VFX film? Three reasons.

First, the non sequitur storyline provides a blank slate for the filmmakers, who are free to fill in the blanks however they wish; or, a la JJ Abrams, just leave the blanks blank. The Airtight Garage provides a firm skeleton on which to hang a dramatic sci-fi high adventure with a good dollop of comedy.

Second, The Airtight Garage is a cult classic with a large fan base. In 1999 the Metreon shopping mall in San Francisco opened with an Airtight Garage-themed attraction, which was hugely popular until the mall was shut down in 2007 (probably a Bakalite trick!).

And third, Moebius’ artwork is beautiful, original, and unique. Many artists and filmmakers are inspired by him, but no one has produced an entire feature film that takes place in a Moebius universe. At one time, his vision could only have been realized through traditional animation, whether one was the director of The Seven Samurai or not. But with modern VFX, that has changed.

The mind-bending, multidimensional layout of the three levels of the Hermetic Garage; its vast alien vistas and retro-futuristic architecture; Grubert’s trusty starship, the Ciguri; the Star Billiard, a colossal green humanoid robot that the Ciguri crew uses as an exploratory vehicle; the bizarre lifeforms of the Garage, such as the pink riding animals called Melvils – all of these could come to life.

And not only would Moebius’ actual drawings provide inspiration for artists – I think that the incomplete nature of The Airtight Garage would give CG and VFX professionals an unprecedented world-building opportunity.

Jean Giraud is 72 years old, and hopefully has many years ahead of him, thanks to French cuisine and Socialized medicine. But it would be nice to finally produce an Airtight Garage adaptation that he would be alive to enjoy.

Previous: Wings of Honnêamise (anime, 1987); Erma Felna EDF (comic, 1983-2005); Appleseed (comic, 1985-89)

Next: Warhammer 40,000 game franchise (1987-present)

See a set of The Airtight Garage art on Flickr.

More info: Jean Giraud on Wikipedia; “Moebius” (story of Kurosawa adaptation) on Wired.com; The Story of The Fifth Element art book reviewed on Parka Blogs, and on Amazon.

For an explanation of the choices for this list, see the first entry.

Number 8 of 10: Appleseed (manga: 1985-89; anime: 1988, 2004, 2007)

If there’s one thing modern CG can render with absolute realism, it’s hardware. From modern consumer automobiles, commercial aircraft and military vehicles to futuristic robots, mecha and spacecraft, VFX artists have mastered the art of heavy gear, from 1984’s The Last Starfighter to last year’s Avatar.

But the military hardware, vehicles and spacecraft in modern VFX movies and television shows and video games do not show as much creative variety as one might expect, given the nearly boundless flexibility of CG. Spacecraft usually look much like the USS Sulaco from 1986’s Aliens, which itself isn’t terribly original. The “APUs” in Avatar are nearly identical to the battlemechs from the BattleTech franchise, themselves inspired by anime mecha. And any time you see a BFG (Big “Effin’” Gun) or any other large military prop in a sci-fi film, TV show or video game, it seems to come from the same prop house or 3D model library as all the others.

This isn’t necessarily because production designers and VFX artists are lazy or unoriginal – there are creative and production concerns. If a giant futuristic space blaster looks exactly like what the audience expects a giant futuristic space blaster to look like, a filmmaker need not waste time explaining what it is. The same goes for spaceships – film-goers unfamiliar with sci-fi (are there any of those left?) might be confused by the giant, spherical spaceship at the end of the 2008 remake of The Day the Earth Stood Still (they were already confused by the plot); but will instantly recognize the alien ship in 2009’s District 9, given its resemblance to the bastard love child of the giant saucers from Close Encounters of the Third Kind (1977) and Independence Day (1996).

Furthermore, the use of preexisting assets can save a production a great deal of money; and looking to previous films, shows and games for inspiration can save time and effort. This is not necessarily a bad thing. Artists make artistic choices, referencing other artists for storytelling purposes. When director David Twohy introduced the evil Necromonger religious zealots in 2004’s The Chronicles of Riddick, their ships and armor intentionally referenced those of similar sci-fi characters in 1984’s Dune and the Warhammer 40,000 franchise. Likewise, the iconic city-destroying giant saucers in Independence Day are so recognizable because they are based on the nearly-identical ships in the 1980s TV miniseries V.

And finally, so many of these hardware designs resemble each other because of common science fiction tropes that artists often are not even aware they are perpetuating. I have already gone into this in detail elsewhere. But a few that apply here include: spacecraft designed according to a nautical paradigm, or to resemble an office building; the idea that while every other technological advance makes devices smaller, military technology will just get bigger and bigger – today’s hardware on steroids; and that human spaceships should be blocky and covered in devices, while alien ships are biologically-inspired and spiky.

So how can VFX artists and production designers break out of the sci-fi hardware design rut? Allow me to make one very specific suggestion. Dig into your manga collection (admit it, you have one), and pull out the collected works of Shirow Masamune.

One of the most popular and talented mangaka to see his work adapted during the anime renaissance of the 1980s, Shirow is known for many things – his trademark character design, bizarre humor, complex cyberpunk storylines, and (especially recently) ribald eroticism (NSFW). But he is best known for his hardware; aircraft, armored vehicles, military and police gear, and mecha; and two concepts he in particular created and popularized, the biological robot “bioroid,” and the child-like intelligent robot tanks, the “Fuchikoma.”

The best thing about Shirow’s hardware design is that it doesn’t look like anyone else’s. Indeed, Shirow’s designs have not been widely copied in the anime and manga world, precisely because the plagiarism would be so obvious. His vehicles and weapons have a decidedly biological inspiration; but this is tempered with the sensibility of a serious mechanical, industrial and military engineer.

Every detail of a Shirow creation serves a particular purpose. If an object transforms, then each of its pieces would genuinely fit together. If the device is a vehicle, then an operator would actually fit inside. He draws cut-away schematics of many of his creations, to prove they are thought-out and fully realized. Just as a realistic portrayal and a deep backstory make an audience care more for a human character, so the same principle can be applied to production design to make the viewer care about a world. James Cameron accomplished this in Avatar, and Shirow does the same with his futuristic environments.

For the purposes of a live-action CGI film, I propose an adaptation of Shirow’s 1985-89 manga Appleseed. This might surprise most Shirow fans, who would expect me to choose his most popular creation, the dark cyberpunk manga, film, television, toy and game franchise Ghost in the Shell, which stars the sexy cyborg police Major Kusanagi Motoko and the lovable Fuchikoma.

Appleseed, on the other hand, was Shirow’s first major success, a post-apocalyptic love story set in a utopian city-state. Deunan Knute, a sexy ex-LAPD SWAT member and Landmate (military exoskeleton) pilot, is in love with her partner, Briareos Hecatonchires, a faceless cyborg who has lost most of his original body to military replacement parts, but has not given up his soul or his love for Deunan. Together they roam the ruins of Los Angeles until they are recruited to police Olympus, a hyper-advanced city populated by bioroids.

Shirow’s Major Kusanagi is a bioroid, and her story explores the typical cyberpunk themes of human identity and machine consciousness. But for the most part, she looks human – she would be portrayed by an actress (Angelina Jolie, probably) with a bit of occasional digital makeup.

But Appleseed’s Briareos would be a challenge for VFX artists – a fully thinking, feeling, and emotional character without a human face. He’s the ultimate hardware as a character. And his relationship with Deunan (Charlize Theron?), and her acceptance of him in his inhuman form, is key to the story.

It should be noted that much of the preliminary work for a live-action VFX adaptation of Appleseed has already been done, for Aramaki Shinji’s 2004 and 2007 CG animated films Appleseed and Appleseed EX Machina. The Appleseed universe was 3D modeled for these films, although the final animation was cel-shaded. But they serve as a proof-of-concept that Shirow’s unique and compelling take on the world of the future could serve as the foundation for a successful movie experience.

Previous: Wings of Honnêamise (anime, 1987); Erma Felna EDF (comic, 1983-2005)
Next: The Airtight Garage (comic, 1976-80)

See a set of Appleseed art on Flickr.

More info: “Tired Sci-Fi Tropes that Must Be Retired” on Kunochan.com; Shirow Masamune and Appleseed on Wikipedia; Appleseed on Anime.com.

Each year, the television networks commission pilot episodes for prospective television shows. Each pilot is a fully-realized episode, usually the first episode, of the show; and network executives use the pilots to determine which shows will be “picked up” and become actual television series. Of course, only a fraction of those pilots are picked up.

The majority of television pilots are produced during “pilot season,” which is generally January through April of each year. This is the busiest time of the year for many in the television industry – actors, producers, crew, production and post-production. It’s also the time of year when many in the industry make most of their income.

The global Financial Crisis has impacted entertainment as it has every other industry. In 2009, NBC tried a strategy of choosing new shows based on scripts rather than fully-produced pilots, a seemingly logical plan that saved millions in production costs. But every new show chosen by this strategy failed last season, and the Peacock has returned to ordering pilots.

Indeed, while orders for pilots are still down overall, the networks have ordered about as many for 2010 as they did in 2009, which is good news for those who depend on pilot season, like VFX houses.

At the Culver City, California and Vancouver, British Columbia offices of Zoic Studios, pilot season is always a challenge. I spoke to Andrew Orloff, Zoic’s executive creative director, about the winding-down 2010 pilot season, and how Zoic responds to the heavy influx of work.

The fun part of pilot season is the new shows, with new creators and new scripts; this is where we really get in a lot of our creative input.

“It’s been very busy this year,” Orloff says, “and we’re definitely doing more than we’ve done in the past, probably about double what we normally do.” In fact, the studio produced around 3,700 shots for 32 projects in the months of March and April alone; this included pilots as well as ongoing series, including effects-heavy shows like Fringe and V. At its busiest time, the Culver City studio had 163 people hard at work, as many as 70 of whom were freelancers. In addition, the studio performed a large server update, to 80 terabytes of high-speed storage and hundreds of render nodes.

“We’re cracking out hundreds of shots a week for review,” Orloff adds. “A lot of the pilots are being delivered electronically, a step away from tape delivery. It’s actually easier for the client, and a lot less time-intensive on the editorial end, because we’re delivering media directly to the Avid [Media Composer], fully integrated into their technical pipeline.

“We’re completely dependent on our Shotgun database. It allows the VFX supervisors to constantly review material from their desks, to be able to give notes directly to artists from their desktops. And then we have nine hours worth of dailies every day, uncompressed high-def material, all the shows and all the pilots. We’re reviewing an immense amount of material, and using our database and pipeline tools to make sure we don’t get swallowed up by the volume of the work we have to parse through, and maintain the creative focus.”

Orloff says it’s important to find the time to maintain creative focus, despite the volume of the work during pilot season. “We use these pipeline tools, these efficiencies, so we can still be having creative conversations even though we’re in this massive delivery mode — which is a kind of a cool thing. The fun part of pilot season is that there’s new shows, with new creators, new scripts; and this is where we really get in a lot of our creative input. Talking to directors and executive producers about what are the visual effects going to be for the show; what is the signature look for the show; how does it integrate with the story you’re trying to tell. We have the opportunity to set up a language for the visual effects, that is going to stand as long as the show lasts.”

Much of the work done for the pilot will be used throughout the life of the series. “When a pilot gets greenlit, the first thing we do is, if it’s a spaceship show we’ll build the spaceships. If there’s a digital double that needs to be made, we’ll scan and build the digital double. All of that happens for the pilot. So a lot of the heavy-duty lifting, with models and techniques that are going to be used for the life of the series, is done during pilot season. There is a lot of discussion with the creative heads of each show to make sure we design something that’s not only creatively right, but that’s also sustainable for the long run when the series gets picked up.”

Orloff explains that dealing with the extraordinary workload during pilot season can strengthen the studio’s technical pipeline. “You get a very clear idea about what the pressure points and the log jams in your pipeline are — what’s working and what’s causing a bottleneck. You have to react to those production issues very quickly. It’s definitely a benefit for the rest of the year when things are at a more regular pace. You have a limited number of development cycles to spend, and one of the opportunities of pilot season is to see where you want to spend those development cycles, and to pressure test everything you’ve been working on throughout the year.”

More  info: “Tables turned this pilot season” and “Pilot season getting mojo back” on Variety.com; “As TV networks tighten belts, look for fewer stars, fewer risks” on USAToday.com.

The Zoic-produced “Reveal Trailer” (NSFW language) for Electronic Arts upcoming sci-fi survival horror third-person shooter DeadSpace 2 is now available on IGN.com, along with IGN Rewind Theater’s funny and obsessive dissection of the trailer.

More info: “Reveal Trailer” and “IGN Rewind Theater: Reveal Trailer” on IGN.com.

Last month, Zoic Studios’ executive creative director Loni Peristere gave a presentation at SXSW Interactive 2010 in Austin, Texas. In the following video, he discusses the relationship between ideas and technology; encouraging clients to take risks; and how technology now allows anyone with a great idea to produce a professional product.

A transcript of the video follows; the remarks were extemporaneous.

Any great thing comes first from a great idea. And a great idea really is the evolution of any process. You can talk until you’re blue in the face about technology, innovation, Internet and interactive, and social media, and you can say all those things until you’re blue in the face; but what it comes down to is a creative concept that has a need that doesn’t exist, and it’s finding a partner in the right technology that works for that creative idea.

I mean, at a very simple level, when you’re a carpenter sometimes you use a hammer to put a nail in, but sometimes you use a screwdriver. They get the same job done, but they get them done in a different way with a different effect. And I think that, again, starting at the idea first, and really utilizing the tools of the ability to communicate with the world, and the tools of instant feedback to create something new, is really what it’s about. It comes right down to the idea, and that’s what we have to build upon.

How do you get a client to take a leap of faith?

That is where personal relationships really come into play. How do you get people to take a leap of faith and creatively destruct boundaries? Well, it comes with trust, so it’s a relationship that’s built on years of success doing other things. And it’s built on trial and error. It’s built on exploration, and “taking a flyer.” We are constantly taking flyers, and I know that can be expensive and trying at times, but if you combine trust with taking a risk – which is how Killzone happened, it was taking a risk, and really Guerrilla Games took a giant risk by saying that they could produce this spot, and they produced the spot. It was Jan van Beek and his crew in Amsterdam that made Killzone 2 happen; it was them taking a flyer to change the way that advertising was going to work, based on a concept that Deustch had. I was just fortunate to come along for the ride and make a cool bullet shoot across the thing.

The power of creativity lies in the passion of the user

What’s really good in the world of what we do today in advertising is that, from a production standpoint, you can go to the store and pick up a viable HD camera for $1,300 with professional lenses, which gives you a product that’s as good as anything on the air. You can download editing software that costs hundreds of dollars instead of thousands of dollars. You can download visual effects software that costs hundreds of dollars instead of thousands of dollars. You can download Flash tools for hundreds of dollars instead of thousands of dollars, and literally you can make your own studio. You can have audio equipment, same deal. The technology in Moore’s Law has put the power of creativity in the passion of the user.

So how does one create their spec work? You just gosh darn do it. And you just get up there and do it. And when I started at 38 years of age, gosh it seems so long ago in 1996, you know, I had to go learn the Flame at night – and I never really learned the Flame, I tried, but it took too long because I also had to learn to use Excel spreadsheets to track things, and I had to learn to how to monitor QuickBooks, and all this all this kind of crazy antiquated stuff. Today you don’t need to do any of that because it’s all given to you in software.

So if you are passionate and persistent enough, if you have the right creative idea, you just make it happen.
As a learning experience, you just absorb what your passion is. If you want to be Steven Spielberg, you watch Steve Spielberg movies. If you want to be Ridley Scott, you watch Ridley Scott movies. If you want to be Jeff Bezos, do that – I don’t know that. But if you want to be Bill Gates, you work with the highest in computing software. You immerse yourself in that. There’s a really great book out there, and I’m going to stump for Malcolm Gladwell because this book Outliers really hits it right on the head. It’s practice that makes perfect, and that cliché really rings true. It’s the 10,000 hours of doing what you do really really well. So if you want to be a filmmaker, make films. If you want to make web content, make web content. If you want to make a game, make a game. And that can start at the moat basic level by practicing by learning from the best around you, and the good news is that the web provides that to you instantly.

More info: “Zoic’s Loni Peristere to Present ‘The Future is Now: Immersive Advertising as Gameplay’ at SXSW Conference” on IDYE; “Zoic’s Loni Peristere Discusses How to Make Your Creative Ideas Happen at SXSWi” on Wiredrive; the Wiredrive SXSW microsite.

This is a series of posts discussing ten existing science fiction properties (from literature, animation, games and comics) that could serve as the basis for ground-breaking live-action VFX films and television shows. This time: the furry animal sci-fi comic Erma Felna EDF.

For an explanation of the choices for this list, see the first entry.

Number 9 of 10: Erma Felna EDF (comic, 1983-2005)

It took a few decades, but computer graphics engineers have mastered the modeling and rendering of hair and fur. This has allowed a tremendous level of sophistication in CG animals that are realistic (the giant ape in 2005’s King Kong), cartoonish (the new CG Chipmunks films), and somewhere in-between (Aslan the Lion from the Chronicles of Narnia adaptations).

But little has yet been done in the realm of anthropomorphics, what is sometimes referred to as “funny animal” or “furry” animation and comics. These are usually representations of characters with animal heads and other bestial characteristics, but humanoid (“anthropomorphic”) bodies, intelligence and the ability to speak. Such furry characters may or may not wear clothes; may live in their own “furry” world, or in the real world with humans; and may have their own animal-based culture. Such creatures appear in children’s literature (Beatrice Potter’s 1902 The Tale of Peter Rabbit; Kenneth Grahame’s 1908 The Wind in the Willows) and in adult stories (Art Spiegelman’s Maus: A Survivor’s Tale (1980-91); Kirsten Bakis’ 1997 Lives of the Monster Dogs).

Although highly popular in comics and traditional 2D animation (Warner Bros characters such as Bugs Bunny and Daffy Duck; Disney’s 1973 Robin Hood (1973) and TaleSpin (1990-91)), the only professional example of 3D furry animation I could find with a quick Google search was this French soft drink commercial (may not be safe for conservative workplaces).

Indeed, furry anthropomorphics have a bad reputation with those in the mainstream culture who are even familiar with the notion, thanks to news reports and crime procedural dramas that paint all furry fans as sexual deviants. I won’t go into that controversy here (see Wikipedia), only to say that while there is some small truth to the allegations, most enthusiasts in furry fandom just enjoy the characters and art, and don’t have any involvement with the erotic material.

Furry anthropomorphic characters offer a unique challenge to visual effects artists. Can a balance be found and maintained between cartoonish animal CG characters, like the feature film Scooby Doo, and realistically-rendered characters like Narnia’s Aslan? There is an old idea, its truth debated by my (admittedly odd) friends growing up, that if the charismatic and roguishly adorable Bugs Bunny were to suddenly appear in the real world – if those enormous eyes were made of real sclera and ocular jelly, if a cunicular body were stretched out to those freakish proportions, if those begloved four-fingered paws were groping at you – you would run away screaming in absolute terror. Is there a funny-animal version of the Uncanny Valley?

So what funny animal comic have I chosen as the best example of a property that could today be turned into an amazing live-action TV show or feature film? There are rumors of a live-action CGI remake of Don Bluth’s brilliant 1982 animated feature The Secret of NIMH. But my choice is Steve Gallacci’s 1983-2005 space combat epic Erma Felna EDF.

The serial was the main feature of Albedo Anthropomorphics, a furry comic book anthology for adult audiences, which Gallacci edited. Erma Felna EDF was a hard sci-fi war and political drama focusing on the personal and professional crises of the eponymous character, an anthropomorphic female cat and a Tactical Aerospace Commander in the the Extraplanetary Defense Force, or EDF.

No, really. Despite the funny animal angle, Erma Felna EDF was a serious science fiction drama. As “hard” sci-fi, its space travel science and military technology were very well worked-out and explained by Gallacci, a former technical illustrator for the US Air Force. In fact, I was quite impressed by Gallacci’s to-my-knowledge unique take on space combat, which combined real-world physics with some logical conclusions drawn from theories of faster-than-light travel.

And the story, while not without its share of action and suspense scenes, centered largely on politics, both military and interpersonal. A brief synopsis: Cdr. Felna, daughter of a war hero, is part of the EDF, which defends the Confederation against the Republic, a xenophobic polity run by rabbits. Wounded in battle against the Republicans, Felna is sent to the planet Ekosiak, to help train the local military. Seen as a symbol of Confederate meddling, she nonetheless is drawn into putting down a local uprising. Now seen as a hero herself, Felna is sent to the Ahahn-Tako system for PR purposes, and survives an assassination attempt that cripples her spacecraft. During the rescue attempt, an alien spacecraft is discovered, revealing secrets that may reveal the origins of all civilization.

Why is Erma Felna EDF a furry animal comic at all? Probably because that’s what Gallacci wanted to draw. But honestly, while Erma Felna EDF is well written, without the furry angle it would not stand out much from all the other hard sci-fi I have read over the years. The disconnect between the serious hard science fiction and adult literary drama on the one hand, and the funny animals on the other, emphasizes each aspect. It seems like a gimmick, until you read it.

So what about Erma Felna: The Motion Picture? (Actually, fans usually remember the comic by the name of the magazine – so it might be Albedo: The Motion Picture.) Not many hard sci-fi space-based films or TV shows get made. Avatar had a strong hard sci-fi component; on TV we have had FOX’s Space: Above and Beyond (1995-96) and Firefly (2002), as well as the Sci Fi Channel ‘s Battlestar Galactica (2003-09). The furry animal angle might be what a well-written space epic needs to spur interest in general audiences, who may buy a ticket or tune in out of curiosity, and stay for the compelling story and characterization.

But can it be done? A 3D rendered Erma Felna has to be realistic enough to fit into her high-tech, futuristic and militaristic universe. She has to be human enough to convey complex emotion; but she can’t look like a talking cat from a cat food commercial. She has to be charismatic and sexy, without creeping out the audience. And she can’t be so realistic that she looks like a deformed monster cat.

It’s quite a challenge for any animation and rendering team. (Add to this the rest of the Erma Felna universe, full of anthropomorphic rabbits, dogs, birds, foxes, hamsters and countless other critters.) If it could be done, and the creative problems could be solved, Erma Felna: The Motion Picture would be unlike anything made to-date.

Post-script: It’s not traditionally anthropomorphic or sci-fi, but a “live-action” CG remake of Watership Down could be a disaster, or it could be brilliant, depending on how it was done.

Previous: Wings of Honnêamise (anime, 1987)
Next: Shirow Masamune’s Appleseed (manga, 1985-89)

See a set of Erma Felna EDF scans on Flickr.

More info: Furry fandom and Albedo Anthropomorphics on Wikipedia.

The official V site on ABC.com has posted a short (00:01:44) web video, in which executive producer Scott Rosenbaum explains how the sci-fi drama uses Zoic Studio’s ZEUS system to pre-visualize sets on the greenscreen stage. Visit the site, or watch the video embedded below.

More info: This video on ABC.com; “Zoic Studios’ ZEUS: A VFX Pipeline for the 21st Century” on IDYE; IDYE’s coverage of V.

This is a series of posts discussing ten existing science fiction properties (from literature, animation, games and comics) that could serve as the basis for ground-breaking live-action VFX films and television shows. First up: the 1987 anime feature film The Wings of Honnêamise.

In the 1980s and 90s, effects-centered films and television shows occupied specific niches. In film, an effects-heavy movie like Ghostbusters or Terminator 2: Judgment Day was a summer tentpole release designed to reel in teen audiences of repeat viewers; while a show like Star Trek: The Next Generation, with its $2.5 million an episode budget, was a risky experiment in capitalizing on 1960s nostalgia.

Today, most movies rely heavily on VFX, many of those effects invisible. Greenscreen sets and set extensions, digital makeup, and post-production fixes for on-set mistakes are just a few applications of digital technology used in films and TV shows that the average viewer might think had no effects whatsoever.

But audiences still want “effects-heavy” films, from The Matrix and The Lord of the Rings trilogies at the turn of the millennium to the Iron Man films and Avatar today. And for the first time in TV history, shows from Firefly and Battlestar Galactica to V and Human Target are recreating the experience of effects-heavy, action-oriented movies on the small screen.

Two factors have led to this renaissance in effects-driven entertainment. First, technological advances have made it cheaper and cheaper to create top-quality effects. And second, those same advances have made it possible to realistically render visions that were never possible before.

Today’s VFX artists can create worlds that just ten years ago producers would have said could only be represented with traditional animation. Rumor said James Cameron abandoned his Spider-Man film project because he was dissatisfied with the realism of the character’s CG web-slinging. Can you imagine the director of Avatar having such a concern today?

But how can science fiction filmmakers best take advantage of this new artistic freedom? Some recent films have impressed with their ability to create amazing sci-fi realms and alternate worlds – The Lord of the Rings, King Kong, I Am Legend, Watchmen, 2009’s Star Trek. Others have been less successful, despite the potential of their source material. The skill and creativity of the VFX artists and technicians is not in question. World creation is a specific variety of visual art; and even the most talented VFX artists can’t create an amazing, immersive experience unless that imaginary world is original, vibrant and complete.

There is a large number of existing science fiction properties that could give film and television creators all the material they need to produce visual epics of a type as yet unseen on screen. The Internet is full of lists of sci-fi classics that would make great movies – this list concentrates solely on properties that would provide the most inspiration to VFX artists. Character and plot are secondary (but not irrelevant) considerations. These are ideas for films that would engender in today’s jaded audiences the same kind of excitement we experienced when a Star Wars or a Raiders of the Lost Ark first premiered.

Over the next few weeks, I will cover my top ten choices, from number 10 through number one. Of course, I must be familiar with a book, comic or other property in order to write about it. Originally I considered both sci-fi and fantasy; but in the end, my top ten choices were all sci-fi. If you have any favorites I missed, please talk about them in the comments.

Royal Space Force: The Wings of Honnêamise (dir. Yamaga Hiroyuki, 1987)

Back when Wings of Honnêamise first hit the US anime fan circuit, when we sat in dark basement rooms watching unsubbed anime while poring over fan translation printouts off of Usenet, few American otaku thought the film was any good. I was one of a tiny minority who agreed with the Japanese critics, that it was one of the best movies of the year, and perhaps the best anime feature yet made.

Today, when you can buy manga at Barnes & Noble and Naruto is a household word, Wings of Honnêamise is almost forgotten except among anime aficionados, many of whom lament the film’s lack of giant transforming robots and sex-obsessed middle-schoolers. The US DVD release in 2000 (upon which I relied to provide screenshots) was made from a terrible print; get the 2007 Blu-ray version and watch this film. I guarantee you will not be disappointed.

Wings of Honnêamise takes place on a parallel Earth where modern technology and global culture began in the East rather than the West, in an alternative version of Japan and Southeast Asia. The hero, Shiro (based on actor Treat Williams), is part of his nation’s unheralded, underfunded and comically deadly space program, which exists only as a ploy to lure another, alternate-Western nation into a war. Shiro falls for a pretty religious zealot named Riquinni (based on Tatum O’Neal), and in an effort to impress her, volunteers to be the first man in space.

Unlike many Asian and European films, Wings of Honnêamise adheres to a three-act structure; but its mood is unusually flat, which may be what put off American audiences. The characters, especially the two leads, are so thoroughly crushed by the pointlessness of their lives that even their epiphanies feel listless. And Shiro’s violent attempt to consummate his relationship with Riquinni does not play as well with Western audiences as it did in Japan. But all this moodiness and moral malaise pays off at the climax, when Shiro’s dangerous and soul-changing flight into orbit (imagine if Apollo 11 had launched during a full-on Soviet invasion of Kennedy Space Center) successfully ignites in the viewer all the hope and excitement for the future we felt back when America’s space program really meant something.

Wings of Honnêamise makes this list because of its justifiably famous and influential (in anime) production design. When brand-new production company Gainax (later the creators of the immensely popular Neon Genesis Evangelion) decided to make an alternate-reality film, they really dedicated themselves to an alternate reality, with an impressively obsessive attention to detail not seen since Blade Runner. And while Ridley Scott was limited by budgetary and practical constraints, the artists at Gainax were hindered only by their imaginations.

Everything in the world of the film – the architecture, technology, costumes, calligraphy, urban design, food, utensils, doorknobs, windowsills, every single incidental detail – is carefully crafted as part of a unified, original cultural continuum that is inspired by, but different from, East Asian culture. (The alternate-Western culture, worked out with far less effort, is humorously based in medieval European iconography, like a modern society evolving directly out of The Hunchback of Notre Dame.)

The vehicles – automobiles, motorcycles, bicycles, and a few that are harder to categorize – are different, yet familiar. The aircraft fly “backward,” with their propellers on the rear instead of the nose; but they seem to conform to the same laws of aeronautics as on our world. Assuming the events in Wings take place at a point in its world’s history roughly contemporaneous with our Yuri Gagarin, and it seems they do, then many aspects of that world’s technology are a few decades behind ours, but not all. Yet their machines are not cross-decade Steampunk chimera like the parody technology of Terry Gilliam’s Brazil; the devices are consistent, both internally and with each other, and seem to make sense, having developed out of the same technological and scientific tradition.

Some science fiction films make the mistake of portraying technology that is too consistent. Watch 2001: A Space Odyssey and you might believe that all technology in that distant future year was produced by a single designer working for a single company. The archaic computers, inverted telephones, and beautifully-crafted train ticket dispensers of the nation of Honnêamise seem related, but not the same; they come from the same culture, but not the same place within that culture. The viewer doesn’t necessarily notice this, unless they obsessively examine the film as I have, but it registers in the back of the brain as realism.

All the puzzle-pieces fit together, seamlessly; and as in The Lord of the Rings or Avatar, they create a strong sense of a single, genuine reality that beckons to the viewer, who wants to leap through the screen and explore. Interestingly, director Yamaga eschews wide vistas and establishing shots; the details of Honnêamise are presented through medium shots, and in the background of two-shots. The world of Wings of Honnêamise is a real world of real people, so we learn about it through the experience of those people. Not only is the sense of reality heightened, but viewer’s lizard brain screams out zoom out! Back up! I want to see!

When Wings of Honnêamise was released in the 1980s, it was impossible to shoot it in live action; Roger Ebert basically said as much in his review of the film. The cost of the costumes, sets and backlot stages, miniatures, special effects, and the countless props, would have been absurdly prohibitive; as it was, Wings was one of the most expensive animated features made to date. But today? With virtual sets and greenscreen set extensions? The success of a live-action remake would be measured not in budgetary considerations, but in the artistic freedom, courage and devotion of the filmmakers and artists.

Next: Erma Felna EDF (comic, 1983-2005)

See a set of Wings of Honnêamise screencaps and production art on Flickr.

More info: Royal Space Force: The Wings of Honnêamise on Blu-ray on Amazon; official Gainax website (Japanese);  Roger Ebert’s review for the Chicago Sun-Times; on Anime.com, Wikipedia and IMDb.

Recently ABC’s alien invasion drama V returned from hiatus, and Zoic Studios has been working night and day creating the VFX for the critically-acclaimed sci-fi series.

I managed to pry compositor Nate Overstrom away from his desk for a few minutes, to discuss some of the work the Zoic team has done for V since the show returned from its Winter Olympics break.

“We’ve been working on so many shots that everything kind of blurs together,” Overstrom says. “We’re delivering about 200 shots per episode, on a two-week turnaround. We’re moving lightning fast, and doing the best we can to keep everything running smoothly.”

The most memorable effects scene since the show returned might be the final shot of episode #105, “Welcome to the War,” when (spoiler alert) V leader Anna (Morena Baccarin, Firefly), having just finished mating joylessly with an anonymous V male, says “now my eggs need nourishment” – her head juts forward, a mouthful of fangs protrudes from her maw, and she lunges at the doomed male.

“Anna’s teeth were pretty interesting,” Overstrom says. “There were two shots we worked on for her face. The first one, where she first started opening her mouth, was primarily a 2D effect. First we used The Foundry’s Nuke to warp her mouth and jaw open, and moved her existing teeth out of the way. Then we rendered the upper and lower CG jaws and teeth separately, and tracked in the 3D elements to the new warped face.

“The second shot was a digital prosthetic. The matchmovers tracked Anna’s face, and modeler Jason Monroe built out a new lower face with the jaws extended, as well as the new CG jaws and teeth. Sal Massimini and Chris Strauss took it through texturing, lighting and rendering. They projected the textures of Anna’s original face back onto the CG model, so everything lined up pretty well. Then it was just a matter of color correcting it in.”

She seemed to do a thing where her whole head slid forward…

“That was just [Baccarin]. She leaned forward, and I did a little bit of a warp on her jaw before she opened her mouth, to kick her jaw forward a little bit, and give her a bit of a menacing motion.”

In another scene, Fifth Column member Ryan Nichols (Morris Chestnut, Boyz n the Hood) reveals his alien nature to terrorist Kyle Hobbes (Charles Mesure, Hercules: The Legendary Journeys) by pulling down his lower eyelid and pushing up his false human eye, revealing a reptilian slit pupil. “Jason built the eye models and did the initial textures,” Overstrom says. “Sal and Chris did the rendering.

“Those were pretty straightforward. We layered in each eye separately to maintain as much control in comp as possible. The tricky part was getting just the right kind of ‘membrane’ effect on the human lid, which was accomplished through a few extra CG elements. We had to do a little bit of extra 2D warping on the pupil of the second shot to simulate the eye constricting and dilating.”

There’s nothing practical with the actor, right?

“He’s just doing this [pulls down eyelid].”

The brunt of the show is virtual sets – anything on the mothership, which is a lot of shots…

Episode #104, “It’s Only the Beginning,” reveals a surveillance room aboard the mothership, from which the Vs can monitor humans who have been tagged with fake flu shots. “These are 300 foot long digital sets,” Overstrom explains, “with dozens of digitally added extras, and accompanied by 3D holographs around each group. The only thing rendered in CG was the room; then Dayna Mauer populated the expanse of the room using Nuke’s 3D capabilities. She extended out a full set of extras and holograph screens, and added reflections and shadows of everybody.

“The groups of extras were shot on greenscreen – six or seven plates of five groups of people standing in different positions. She went though and did 30 extra greenscreen comps, lifted those people out, put them on cards and placed them out in 3D.”

Since the show came back, the mothership technology has centered a great deal on the V control screens, which are flat 3D interfaces that appear in midair. What’s involved in creating these floating holographic screens?

“The production has a group of motion graphics artists that provide us with the playback elements,” Overstrom explains. He says that the actor is given on-set direction about how to interact with the screen, which has no practical on-set element. “They provide us with the elements. We track them into the shots in Nuke, and time the animations accordingly.

“Sometimes we get fancy and add some chromatic depth by taking a display, duplicating the object twice, and shift the channels on each iteration so each is either a red, green, or blue channel. Then we shift each ‘channel’ in space so the three are slightly offset from each other and then recombine them. So if the camera rotates around, we see that there’s a little 3D depth to it that creates a chromatic separation.”

In another memorable scene, from episode #106 “Pound of Flesh,” Anna tests the loyalty of a group of Vs who failed an empathy test. They are told to consume pills that will immolate their bodies instantly. The Vs who take the pills die, but pass Anna’s test. “The V immolation shot was definitely challenging, especially on such a tight turnaround. We custom-built and animated a CG rig to provide a series of animated mattes, skeleton elements, a charcoal mannequin, and several sets of particle passes. We then cleaned several actors out of the greenscreen and re-layered the effects in, also taking care to add the reflections of everything in comp.”

Overstrom admits that working on V, while tremendously satisfying, is also a challenge, due to the scope of the work. “The brunt of the show is virtual sets – anything on the mothership, and a lot of matte paintings for New York City, which when you watch the show… is a lot of shots. But we also have to take account of all the other shots that go into the show as well: all the holoscreens, the healing effects, medical instruments and prosthetics that need cleanup, rig removal… you know all the ‘standard’ work that goes into just about every show. That’s all there as well.”

“The biggest hurdle for any of these shots that we’re doing is the time constraint — but our work on V has come off pretty successfully!”

More info: Official V site on ABC.com; Nate Overstrom, Jason Monroe, and Chris Strauss on IMDb.