Monday, April 24, 2017

Scenic Sculpting :: Kong: Skull Island (2015)

I joined a team of LA sculptors in Hawaii for "Kong: Skull Island". Our main task was to create a massive bone yard for the film which included, you guessed it, Kong-sized bones! Great project and got to help some very talented artisans on this one.

We had to re-assemble this skull after cutting it into pieces to get it out of the warehouse where it was built and on a truck to location. (NOTE: The skull is red due to spraying on a fire resistant coating to keep the foam underneath from melting when it gets hit by some pyrotechnic effects in the scene)
Yes, that's me on the Kong skull!

Gorgeous backdrop at Kualoa Ranch.

The finished skull after plaster and paint (FYI, that's the Location Manager  posing in the  jaws. We sculptors had completed our mission and were long gone by this point.)

Scenic Sculpting :: Batman Vs Superman (2014)

In the beginning of 2014, I worked with a team of LA sculptors in Detroit building sets for Batman Vs Superman. Our focus was on building the interior of the Krypton spaceship which had crashed in "Man of Steel".  

Scenic Sculpting :: The Scorch Trials (2014)

In the November 2014, I worked with two other LA sculptors to build a crumbling tunnel and a walkway/ramp of broken rubble for the third installment of the Maze Runner series, "The Scorch Trials". 

We built all the pieces indoors, and then watched as the whole structure was trucked outside and craned into its final position on shipping containers. A great crew and project, my first of many in New Mexico.

The Tunnel.
The Ramp.
The Scale Model.
The Rendering.
Early AM in the Tunnel.
Breaking up the Tunnel.

Moving Day! 

Outdoor Tunnel View

Prepping the assembled tunnel and ramp for plaster and paint.
3D Rendering of the Foam Sculpture on Shipping Containers.

Sunday, June 2, 2013

Scenic Sculpting :: After Earth (2013)

I worked on this Will Smith / M. Night Shyamalan film from Nov 2011 - Mar 2012 on location in Philadelphia. Learned a lot and will be seeing the finished film myself in the coming week or two.

Ursa Pod. An organic looking cage to hold the beast.

We built two pods at the same time. Hollowing out the two large egg forms and adding all the details. The pristine one is pictured above, pre-crash. The fractured version, post-crash, is below.

This is a 24' vertical shaft where the actors race up toward the surface away from  danger. It had to have a completely removable corner quarter to allow for lighting and cameras.
Exterior face and entrance to the main cave.

Sample of rock formations in the top photo (from Iceland I believe) and how we free-sculpted the texture and style of rock for the cave exterior.
Me laying out the cave shown on the blueprint above.
The narrow cave near finished. This one had tight passageways that forced the actors (and the sculptors while making it) to duck, twist, and turn sideways when navigating from one end to the other. Like most set pieces, it needs to have modular wall sections that can slide in and out to allow for lighting and camera angles. The decks in the top photo had 14' tall walls added as an example .
Organic bone shapes of the crashed space ship. We developed a set of 3 sized and angled ball joints and legs which were cast in flexible foam and then cut to wrap the various diameter and compound curves of the steel tubing making up the structure of the ship.
Early stages of the cockpit of the spaceship. Foam overlapping steel. This entire structure was placed on a gimbal to allow for aggressive tilting and shifting of the entire ship during flight/crash.