InCamera Alien Romulus

Bristol practical effects outfit InCamera came to Distortion Studios with a video idea for their popular YouTube channel.

In keeping with their passion for producing their effects output ‘in camera’, they felt – as did we –  that virtual production was the only route to do their idea justice, and build a believable, accurate and detailed environment in which to place their micro budget sci-fi film.

Timed to coincide with the streaming debut of Romulus – the latest in the Alien franchise – the film puts a humorous spin on a well discussed plot hole. There won’t be any spoilers in this post, but the video below might just give a little of the game away so if you’re a fan of acid spitting Xenomorphs, pulse rifles and blood that can melt through steel, maybe watch the film before you check out the episode.

The central purpose of the film is to highlight how the classic acid for blood effect – where the Alien’s bodily fluids rip through various surfaces – is produced.

As with much of InCamera’s work, the beauty of their videos (and therefore the success) is in the detail and complexity of their work. Therefore, to always taking it one step further they really want to immerse their audience, so placing the action on a ship in the deepest space was a requirement. With almost no budget, the idea of building a convincing set on a scale that would sell the scifi environment would be a non-starter. Likewise, given the need for interactive backgrounds and several lighting state changes, a green screen option, while possible, would take considerable post work and still not give the results required.

The only real option, given the scope of the film, was virtual production on an LED volume. As fans of practical filmmaking, a portion of the set – a console of monitor screens complete with flashing lights, dials and buttons was created that could be tied into the virtual set, giving continuity between the practical and virtual worlds. 

In a nod to the original franchise, we also placed a glass of water with a drinking bird toy on the console. But also showed off one of VP’s many benefits. The glass and its transparent contents behave as they would on a real set, bending and warping the image behind them and looking entirely natural on camera. The alternative – shooting on green screen – would make for considerable work in post to key and warp a portion of the image around the foreground object. It’s a small detail, but many small details like this is critical for a successful VP shoot.  Having the volume interacting with foreground elements in this way is one of the tricks we use to sell this incredible effect. 

 

As the drama unfolds on our spaceship, we encounter three distinctive lighting phases, which gives us another opportunity to merge our real and virtual worlds. We shift from a very cold, 80s/90s sci–fi look during calm scenes, through red warning levels and up to flashing emergency alarm lights as we reach the conclusion of the film.

These lighting states were programmed in Unreal, and in the studio we programmed a selection of RGB tubes and spots to mimic those lighting stages. The LED volume itself would do part of the job in terms of lighting, offering highlights and accents but the LED lacks the punch of a ‘proper’ studio light, and in this configuration would only light in one direction. Programming our lights to mimic the colours, and pulse in time with the spinning emergency lights in Unreal is once more tying our foreground elements (set, props and talent) in with the volume, and does an enormous amount to reduce the ‘uncanny valley’ effect.

We think the Romulus film is a great example of how to use VP, particularly in the world of micro and low budget film production. If used well, it can imbue a film with a level of production value that would almost be impossible to achieve in any other way. In no small part, it was hugely beneficial that the Director, Tommy Martin has experience of working in VP, and has a good understanding of when and how it should be employed.

Not all Producers and Directors will have that same experience, but that is entirely why we at Distortion Studios exist. We are here to facilitate, teach and grow the experience of those working in film, television and video so they can harness this amazing piece of technology, and push their content to the next level.

 

Making of Link:” We Create Practical Alien Acid Burn FX!

Episode Link: Alien: Romulus. A Parody

 

If you want to create something like this or want to hear more then give us a call on 0117 972 0081 or email hello@distortion.studio