I was part of the crew interviewed to cover the VFX and visualization process for the film Nope on the website Digital Media World. An excerpt:
Josh Lange, Previs Supervisor at MPC, said, “Since the creature could also change direction and travel in response to the person looking at it, it needed a defined ‘front’ and ‘back’ to make it clear where it was heading. Jellyfish and drapery were the closest real-world reference, and we gave massive scale to the ‘wings’ that undulate and push air below the creature and give a believable explanation for how it could stay afloat at will.”
As design options were pitched during the concept design stage, the artists helped show how these would look in motion with mockups and animation work. Early on, there were saucer options that were smooth and symmetrical, others that looked rougher and organic, and one with a notch cut out of the rim of the ship.
Josh Lange, Previs Supervisor at MPC, said, “Since the creature could also change direction and travel in response to the person looking at it, it needed a defined ‘front’ and ‘back’ to make it clear where it was heading. Jellyfish and drapery were the closest real-world reference, and we gave massive scale to the ‘wings’ that undulate and push air below the creature and give a believable explanation for how it could stay afloat at will.”
As design options were pitched during the concept design stage, the artists helped show how these would look in motion with mockups and animation work. Early on, there were saucer options that were smooth and symmetrical, others that looked rougher and organic, and one with a notch cut out of the rim of the ship.
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