![]() ![]() We segue into a new oner with Evelyn and her sons in their car, following along as she makes her way down the panicked street, including past one of the creatures. The studio also, of course, crafted the CG creature and integrated it into the crash for the dazzling moment that kicks off the chaos. Under the watchful eyes of ILM visual effects supervisor Jason Snell and animation supervisor Rick O’Connor, the ILM crew would then stitch together the plates, paint out any parts of the frame that shouldn’t be seen until they needed to be seen, and paint out parts of the rigging on the car. We chose to do the wipe while John is sliding out of his car.” We had to do a wipe with the cameras going from part A to part B. “Everybody’s got to just wait, and then you’ve got to realign the camera. “That rigging change-over takes about an hour or so,” adds Farrar. “The special effects riggers had to come in and drive the real cop car out and put in the fake one on a flipper unit.” Scott Farrar (left) with director John Krasinski on set. “The tricky part here was that the police car has to drive up and then it’s got to be mounted on a device that slips it into the building,” outlines Farrar. ![]() He exits his vehicle, chats to the officer, when a creature smashes into the police car, and into a shop, with Lee running back to his vehicle-all in one shot. ![]() In the first oner, Lee is seen inside his own vehicle with his daughter before noticing a police car coming up behind them. ![]()
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