Kevin Tod Haug, the client VFX Supervisor, contacted Cinesite Montreal initially in (do we know the month?) to talk about ‘out of this world’ environments and ‘epic’ set extensions for Mrs Fadil’s afterlife sequence which was going to be imminently filmed in Toronto and in Oklahoma. Very quickly, we also got involved in the look development of the storm, which is a character in itself, alongside other sequences. In total, we worked on 18 different sequences split over 5 episodes (1, 2, 3, 4 and although Cinesite’s work covered a good range of visual effects, they were predominantly driven by environment work.
2. What was the brief for the look, what were the references?
American Gods was a very interesting creative challenge for the crew. Fuller pitched it as “a cinematically aggressive show with tonal wonkiness”. The challenge was finding the balance between developing realistic effects to support the narrative whilst inviting the audience to believe in other visual possibilities and to be taken on a fantastical journey. …show more content…
Hopefully the end result is both rooted in realism and rife with otherworldly activity!
3. How did you advise on set?
We began working with Kevin on the project back in (do we know the month?) although I didn’t advise on set I went to met with him in Toronto during production before he moved back to LA to supervise the post from there.
Initially, we organised our work around two deliveries per week and a weekly Cinesync but once the showrunners became more involved, we took the opportunity to add some efficiency to the process and feed their daily reviews in order to get fast feedback and
2. What was the brief for the look, what were the references?
American Gods was a very interesting creative challenge for the crew. Fuller pitched it as “a cinematically aggressive show with tonal wonkiness”. The challenge was finding the balance between developing realistic effects to support the narrative whilst inviting the audience to believe in other visual possibilities and to be taken on a fantastical journey. …show more content…
Hopefully the end result is both rooted in realism and rife with otherworldly activity!
3. How did you advise on set?
We began working with Kevin on the project back in (do we know the month?) although I didn’t advise on set I went to met with him in Toronto during production before he moved back to LA to supervise the post from there.
Initially, we organised our work around two deliveries per week and a weekly Cinesync but once the showrunners became more involved, we took the opportunity to add some efficiency to the process and feed their daily reviews in order to get fast feedback and