242 Shots

120 Crew Members

18 Sequences

Project Info

Release Date: September 30th, 2016



Tim Burton


20th Century Fox

Overall VFX Supervisor

Frazer Churchill

Overall VFX Producer

Hal Couzens

Rodeo FX Crew

VFX Supervisor

Arnaud Brisebois

VFX Producer

Mélanie La Rue

CG Supervisors

Fabrice Vienne

Jean-Sébastien Guillemette

Compositing Supervisor

Emile Harvey

Our extensive work for Tim Burton’s adaptation of the best-selling novel includes bringing its colorful characters to life, making Abraham Portman look 30 years younger, making Millard invisible, setting everything that Olive touches on fire, and helping Horace reveal the future in his dreams. We also worked on environment changes, matte painting, 3D modeling, animation and compositing for the film.




Millard For the invisible boy, our methodology varied by shot, from a paint-out of the actor using the mannequin elements to replace and paint, to replacing areas with CG clothing assets, and, in the most extreme cases, with full CG. For the shots in which Millard is naked and entirely invisible, we manipulated the environment to indicate his presence. For a scene in which Millard sits naked on a couch, we built a CG couch, sculpted blend shapes of him sitting or moving to the edge of the couch, or any given action needed, and played with all of that in animation. In a pub fight scene, Millard smashes plates and glasses and overturns chairs. A lot of interaction was done practically, but we replaced a significant portion with digital props in order to get the timing and trajectories right.  





Abe Portman Youthenizing The flashback scenes of Abraham Portman were planned to use 2D effects, however, just painting over Terence Stamp, who is in his 70s, would not give the silhouette he had when he was young. So we proposed a CG approach, working from scans, on-set references and archive images to sculpt a young Terence Stamp in 3D. We had to start from a basic facial track and refine everything by hand. We built a full CG face, with detailed facial rig for maximum flexibility in animation, lit it in context and did a final composite masking live areas back in to give as much realism as possible. We preserved the live pupils, and enhanced the mouth and teeth in comp. The only thing we didn’t work on was the hair because we were able to keep what was in the photography.