The visual effects landscape for Jon M. Chu’s ambitious two-part adaptation of the beloved Broadway musical, Wicked, reached a significant milestone with the release of Wicked: For Good. Production Visual Effects Supervisor Pablo Helman, a four-time Oscar nominee, recently shared insights into the intricate creative and technical processes behind bringing this magical world to life. His discussions, notably at the 26th annual VIEW Conference in Turin, Italy, alongside Framestore Animation Supervisor Dale Newton, illuminated a production that embraced both classic filmmaking techniques and cutting-edge technology. The film, now streaming exclusively on Peacock, is the culmination of a narrative begun in the first installment, and Helman’s perspective offers a deep dive into the challenges and triumphs of realizing such a grand cinematic vision.
A Return to Grand Scale: The "Old Hollywood" Approach
Helman emphasized that Wicked: For Good was, in many ways, a return to the grand physical productions reminiscent of "Old Hollywood." This approach saw the construction of massive, tangible sets, drawing parallels to the iconic backdrops of classics like The Wizard of Oz and Gone with the Wind. This wasn’t to suggest a lack of digital artistry; the film boasts a staggering 2,200 visual effects shots. However, the core philosophy was to build from a strong foundation of in-camera effects, which were then meticulously augmented and expanded upon digitally to achieve the sweeping cinematic scope demanded by the storytelling.
This strategy required a profound level of collaboration across all departments. Helman explained the visual effects team’s crucial role in consulting with production design, special effects, wardrobe, and makeup. This cross-disciplinary dialogue ensured that practical elements were not only aesthetically pleasing but also technically feasible, and that the visual effects could seamlessly integrate with and enhance what was captured on set. "It takes somebody from visual effects who understands what production design, special effects, wardrobe, and makeup can do, put it out there and make some choices as to how close that methodology is to making the director feel comfortable," Helman stated, highlighting the interconnectedness of the filmmaking process.
Previsualization: A Tool for Exploration, Not Dictation
While some filmmakers rely heavily on previsualization (previs) to meticulously plan every shot, Jon M. Chu’s approach with Wicked: For Good leaned towards using previs as a dynamic exploration tool. Helman elaborated on this distinction, noting that for productions heavily invested in practical builds, previs can offer a more profound advantage. "You’re taking the models from the production design department and you’re bringing them into CG. This means that your sets are correct in terms of dimensions and your lensing is right."
However, Chu’s method was distinct. He utilized previs to experiment with lensing and camera movements, fostering an environment where creative ideas could flourish. The actresses, in particular, were encouraged to contribute to performances, enriching the scenes beyond initial directorial requests. Helman recounted instances where models of sets were placed on tables, and Chu would use a small camera to demonstrate his vision, often relying more on these direct conversations and collaborative brainstorming sessions than on pre-rendered sequences. This organic process allowed for adaptability, acknowledging that "things change on the day."
The Unavoidable Reality: Working with What’s Shot
A fundamental tenet of visual effects, as articulated by Helman, is the immutable truth that "no matter what, you have to work with what the director shot." This principle underscores the critical importance of a consistent vision from the outset. Visual effects cannot magically rectify fundamental issues in the principal photography. "If you did not shoot it consistently with the vision you have, it’s going to be very difficult for any visual effects, or anybody for that matter, to change that around," Helman explained.
Key elements like lighting, shadows, color temperature, and camera movement must align with the intended final look. Helman’s analogy captures this challenge: "That means lighting and shadows must come from the right places. Color temperature and camera movement need to be correct. If you have all of that and you decided that is your shot, and then you come into post and say, ‘I want to change this.’ It’s going to be very difficult to do." This highlights the necessity for visual effects supervisors and directors to be in lockstep throughout the pre-production and principal photography phases. The industry, as Helman wryly noted, thrives on change, but for visual effects artists, a well-executed initial shot is the most valuable asset.
Grounding Fantasy: The Importance of "Earthbound" Visuals
Even within the fantastical realm of Oz, Helman and his team strived to maintain a sense of grounding. Wicked: For Good is a film that, despite its magical elements, needed to "feel earthbound." Helman humorously pointed to instances where unexpected dust appeared in scenes, such as when the monkeys spread their wings. While not strictly adhering to scientific accuracy, these elements were incorporated to add atmosphere and prevent the visuals from appearing too sterile or overly CG-driven.
The film also prioritized capturing the authenticity of the actors’ performances. When Cynthia Erivo, who portrays Elphaba, performed her own stunt work and sang live, the visual effects team aimed to preserve the integrity of her performance. While digital doubles were sometimes employed for complex physical feats, Erivo’s face and singing were consistently retained, ensuring that the emotional core of the character remained intact. The simulation of Elphaba’s cape, for example, was approached as a character in itself, designed to move heroically and interact organically with the actress, thereby enhancing the truthfulness of the flying sequences. "All those things make the flying truer to the character and at the end of the day, is what the actors are looking for. They’re always looking for truth and that’s basically what we’re trying to do too," Helman remarked.
Innovative Tools: Crowd Replication and Film Emulation
The production employed innovative techniques for crowd replication, notably utilizing volumetric capture. This cutting-edge process involves performers acting within a controlled environment, captured by multiple cameras to create detailed 3D renders without the need for traditional asset development or material lighting. This allowed for the seamless integration of realistic crowds performing various actions, significantly streamlining the animation process.
Furthermore, the team implemented a novel approach to integrate CG elements more organically into live-action plates. Several entirely CG shots were filmed onto physical film negative, then rescanned into the digital intermediate (DI) process. This technique introduced a desired "film texture," complete with grain, edge distortion, and halation, particularly in the film’s opening sequences. This process was crucial in achieving a more convincing blend of digital and practical elements, a testament to the team’s pursuit of cinematic realism.
The Evolving Role of AI in Visual Effects
Artificial intelligence (AI) is rapidly becoming an integral part of the visual effects pipeline, and Helman offered a nuanced perspective on its application. He expressed a strong endorsement for AI tools that automate repetitive tasks, thereby freeing up human artists for more creative endeavors. He cited examples like AI managing scene assets or an AI program that can efficiently remove pauses from audio recordings, saving significant time.
However, Helman remains more reserved regarding generative AI for creative tasks. He articulated a concern that AI, by its nature, tends to "regurgitate something that has been done before." His personal ethos as a visual effects artist is to create "something that I have never seen before." While acknowledging the potential for AI in visual effects, he stated, "I’m not quite ready yet" to fully embrace its generative capabilities, emphasizing the irreplaceable value of human creativity in pushing artistic boundaries.
Broader Context: The Wicked Phenomenon
The Wicked franchise, originating from Gregory Maguire’s 1995 novel, has captivated audiences for decades. The 2003 Broadway musical became a global phenomenon, and its subsequent film adaptation represents a significant undertaking in musical filmmaking. The first installment of the film adaptation garnered substantial critical acclaim and box office success. Wicked: For Good, as the concluding chapter, faced the challenge of delivering a satisfying resolution while upholding the high standards set by its predecessor and the original stage production. The film’s nomination for multiple BAFTA, Critics Choice, and Golden Globe Awards in the past awards season underscores its critical reception. The ensemble cast, featuring acclaimed performers like Cynthia Erivo and Ariana Grande, further amplified the anticipation and reception of the film. The collaboration between Universal Studios and a host of VFX powerhouses, including Bot VFX, Clear Angle Studios, Framestore, ILM, OPSIS, and The Third Floor, Inc., speaks to the immense scale and ambition of this cinematic endeavor.
The discussion at the VIEW Conference, a prominent international event for computer graphics, visualization, and interactive digital technologies, served as a timely platform for Helman to share these insights. The conference typically draws leading figures from the VFX and animation industries, providing a forum for sharing knowledge, discussing emerging trends, and celebrating groundbreaking work. Helman’s participation highlights the significant contributions of Wicked: For Good to the ongoing evolution of visual effects artistry and technology.
