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The Boys Season 4

MPC craft a tentacled-mouthed supe and a loving Octopus for The Boys Season 4

Working with The Boys’ Showrunner Eric Kripke, Production VFX Supervisor Stephan Fleet and VFX Producer Sean Tompkins, MPC’s team led by VFX Supervisor Craig Calvert and VFX Producer Ngoc Phan delivered 64 shots for The Boys Season 4. The work focused on various characters with superhuman abilities, and multiple scenes featuring Ambrosius the Octopus.

Studio
Amazon Studios
VFX Supervisor
Craig Calvert
VFX Producer
Ngoc Phan

MPC’s work kicked off with a scene featuring the character Zoe Neuman, who brutally assaults a group of hapless agents. Zoe’s ability to unleash tentacles from her mouth, paired with her razor-sharp teeth, makes her a formidable and gruesome character. MPC’s work focused on creating a half-face replacement for Zoe, which included dramatically extending and tearing her mouth to reveal horrific tentacles, accompanied by computer-generated blood and gore, to enhance the horror and intensity of the scene.

During this scene, the character, Kimiko’s arm is brutally ripped off by Zoe before she manages to escape. This was a technically challenging feat, involving a full CG replacement of the Kimiko’s arm and clothing. It required a complex simulation that included external cloth layers, tendons, ripping flesh, and spraying blood.

Additionally, throughout the season, MPC ensured the continuous photorealism of the character Ambrosius the Octopus. This involved developing intricate contact interactions for her soft flesh, dynamic suckers that stuck to surfaces, and a progressively dirty tank, which filled with grime and scum as time passed.

MPC drew from reference to develop her realistic movements and states of excitement. Additionally, wherever possible MPC incorporated her touch of additional items within her aquarium, in order to ground the work in the environment. In the tank where she spends most of her time, Ambrosius is constantly caressing the glass, self-hugging, grasping at items, pushing against the pebbles, and stirring the micro debris in the water as she moves. With shots crafted for both in and out of the water, additional work was done to develop her on-land look.

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