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Visual effects supervisors Bjorn Mayer and Eric Barba worked with their respected teams to bring Kosinski’s vision to the screen. Mayer’s team at Pixomondo worked on the cloud work since many sequences had the main character flying around the planet. Mayer said their biggest challenge was generating ice on the bubble ship. Barba’s team at Digital Domain found the end sequence inside the massive space station the most difficult test. “It was a challenge to make it work on screen,” said Barba. Kosinski designed the insect-looking helicopter type of spaceship known as the bubble ship. Designer Daniel Simon was brought on board to refine the concept and make it practical for the movie to be shot. Simon was a car designer who worked at Bugatti Automobiles and Volkswagen and a concept designer, as seen in his first book, Cosmic Motors, which features photorealistic fantasy vehicles. He worked with Kosinski as a vehicle concept designer on Tron Legacy and on Captain America: The First Avenger and Prometheus. Costume designer Marlene Stewart used light colors for Harper and darker tones for the Scavs and then added complexity. Kosinski wanted Harper to be in white, the traditional hero color. Stewart ended up creating a grey version to make it look more lived in. The costume also had to be practical given the time Cruise would spend in it. Digital Domain was responsible for Tom Cruise fighting himself. Working with Kosinski, director of photography Claudio Miranda, the stunt team and Cruise, Barba and his team helped choreograph the shots when the actor is fighting a clone of himself. When some of the shots didn’t match, Digital Domain replaced Cruise’s face with a fully CG version by capturing a 3D scan of the actor’s head on a light stage.
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The 804 VFX shots for the movie were almost evenly split between the two FX companies. Filmed on location in Iceland, Hawaii and Louisiana, 85% of Oblivion was shot live and 15% being all-CG shots. Going on location scouting for the movie was very helpful to Mayer and Barba because they could take pictures and draw concepts, which makes a huge difference later on, said Mayer. “You need to be there,” added Barba.
Another satisfying experience for Kosinski was getting M83 to do the score for Oblivion. “The score only version of the film to me is really interesting,” he said. Kosinski had composer Joseph Trapanese work with M83’s front man Anthony Gonzalez for the score, just as he did bringing Trapanese to work with Daft Punk on Tron Legacy. “It’s something I’ve always wanted to do,” he said. “I wanted to do on Tron. We weren’t able to do it then, but on this one, I got my way. The score only version of the movie is a really interesting way to experience it,” he said. COSTUMES OF OBLIVION
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Simon wasn’t too fond of the seatbelts “because I would think in the future you’d have something better than that.” But the seatbelts had to be practical and there’s not much you can do design-wise, he said. TOM CRUISE’S CUSTOM MADE SEAT Darker colors and a complex helmet comprised of four separate sections were utilized for the Scavs. It took 30 minutes for the actors to put on the Scavs’ costumes. “They’re quite a gear to put on,” said Thieman. DESIGNING THE BUBBLE SHIP
It was an unusual but very rewarding experience for Simon. “It’s a boy’s dream (to work Oblivion),” he said. “We all as kids drew something and here’s a big film studio behind it with one of the most famous actors and a very sophisticated director and they all pull on one string and make it happen.” Seeing his drawings and his design modifications become real is already one of the biggest highlight of his career. “I would call it a dream job,” he said. Simon designs his own vehicles and is currently working on a book incorporating his designs with a story. VISUAL WORK
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