Having had longstanding relationships with VFX Supervisor Richard Stammers, VFX Producer Allen Maris, and Fox's VP of Visual Effects Todd Isroelit, I was thrilled when they expressed their eagerness to have Fuel VFX onboard for the film. Being one of the VFX Supervisors at Fuel, I spearheaded our early involvement in the pre-production phase, where we dived deep into concept and look development work, especially for the holographic Engineers and the ship's Holotable.
My experience with Director Ridley Scott was nothing short of inspirational. I was deeply impressed by Ridley's unwavering focus and dedication during the shoot at Pinewood Studios in London. Between takes, he would sit and sketch out his visions and ideas for shots, which was invaluable guidance to my team and me. For Ridley, it was paramount that the visual output was impeccable. He cared more about the look and narrative impact than sticking to strict scientific rules or preconceived ideas.
My longstanding association with Production VFX Supervisor Richard Stammers was a significant asset. Our history facilitated a seamless workflow. Despite the geographic challenge, with Richard in LA and my team in Sydney, we effectively utilised tools like Cinesync to bridge the gap, ensuring ideas and feedback was shared in real-time.
Under my guidance, Fuel undertook a broad spectrum of tasks for the film. We were trusted to craft design-driven visual effects, key sequences, and essential story points. We brought to life the mesmerising Orrery, the holographic Engineer characters, the Holotable on the Prometheus bridge, and the laser scanning 'pups'. My team and I were also responsible for the pilot's chamber's set extensions, the particle-like tunnel effect' in the catacombs, and the 3D holographic screens in Vickers' suite.
One of our crowning achievements was the Orrery. Drawing inspiration from a 1766 painting by Joseph Wright of Derby, we conceptualised this interactive map. However, translating this concept into a 3D stereoscopic production was a challenge. The solution was to harness the potential of our deep image tools, which proved revolutionary for our workflow. Being a part of Ridley Scott's return to the science fiction genre was an honour and a milestone in my career.