ILM’s Big Picture Approach to Wicked
The visual language of the world of Oz, stemming from L.Frank Baum’s original novel, its sequels and its various movie adaptations, are globally recognised and have become part of a wider cultural frame of reference. The characters and worlds of Oz mean something profound to audiences.
ILM’s creative charge for Wicked was Visual Effects Supervisor, Pablo Helman; an ILM veteran of several decades with a stunning filmography to his name. My conversation begins with Pablo outlining his personal approach to embarking on a new VFX project.
ILM’s big picture approach to Wicked
Leading ILM’s creative charge for Wicked was Visual Effects Supervisor, Pablo Helman; an ILM veteran of several decades with a stunning filmography to his name. My conversation begins with Pablo outlining his personal approach to embarking on a new VFX project.
“I have a very particular way in which I approach the visual effects work that we do,” begins Pablo. “I do a lot of research. I really believe in being prepared and pre-empting and having thought of lots of different options. That is part of my job: to give options to the director. I did a lot of research on Jon M.Chu’s film style: I took a look at how he uses lenses, how he uses the camera, and movement and colour, lighting, pacing and timing. And then, it was about talking to Jon and understanding what the vision for the project is.”
Pablo makes the point about how visual effects should always function as a key storytelling tool. He tells me, “As my first musical, Jon and his team just brought me right in and that makes for a better movie, a better story that can be logistically accomplished. I would like to say ‘Thank you’ to all of the artists.”
The Collaborative Wizardry of Wicked
Drawing our conversation to a conclusion, Pablo offers an image to encapsulate the creative process. “If you were to graph or colour the movie, at the end of the day you’d see that the graph goes up and takes you somewhere… until the next movie.”
Pablo then references the Defying Gravity climax of Wicked and how it offers a powerful example of live-action and visual effects artistry working in concert. In doing so, each discipline compels the audience to leave the movie on a high and on a note of anticipation.
“At the end of the movie, Elphaba goes into this war cry and then she turns around and flies away and you build and build that up and then the audience goes, ‘Wait, don’t go away! Where are you going? I want to go with you. I want to know what happens next!’”
Conclusion
Inspired by ILM’s work on Wicked? Then read up on how The Creator was made, and if you want to get into visual effects read our guide to the best 3D modelling software for an insight into what artists use.
FAQs
Q: What is ILM’s approach to visual effects work?
A: ILM’s approach to visual effects work involves a lot of research, being prepared and pre-empting, and having thought of lots of different options to give options to the director.
Q: How does visual effects function as a key storytelling tool?
A: Visual effects should always function as a key storytelling tool to enhance the movie and tell a better story that can be logistically accomplished.
Q: What is the collaborative process like at ILM?
A: ILM’s creative charge for Wicked was led by Visual Effects Supervisor, Pablo Helman, who worked closely with director Jon M.Chu and his team to bring the movie to life.
