VFX Voice - January 2018 Issue

TV
Although the AMC and Sony Television series Preacher is based
on a comic book series, it is not a show where superheroes take
giant leaps or weave their powerful magic. But visual effects do
form a crucial part of the show’s sometimes outrageous, regularly
subversive and often gory scenes.
One of the significant visual effects contributors to Preacher,
which was developed by Sam Catlin, Evan Goldberg and Seth
Rogen, is Legend 3D in Toronto (FuseFX is also a major vendor on
the show). Legend 3D came on board for the show’s second season
which wrapped up in September, helping to tell the story of Jesse
Custer (Dominic Cooper), a preacher who discovers he has the
power to command others to do as he wishes.
Along the way, and in a search for God, Custer and a group of
friends encounter all manner of enemies – supernatural and
otherwise. This is where the visual effects, including from Legend
3D, came in, delivering enhancements for various violence, plus a
range of digital environments, set extensions and composites for
several episodes.
LEGEND 3D: BRINGING
HELL TO LIFE IN
PREACHER
By IAN FAILES
HOW LEGEND JUMPED FROM 3D TO VFX
Until recently, Legend 3D was mostly known as a stereo conversion
house. But in this capacity, the studio had ultimately been
completing waves of visual effects work such as adding in particles,
rain and debris, and extensive object and rig removal.
“After a time,” recounts Legend 3D Visual Effects Supervisor
Adam Ghering, “we were doing more and more effects which led to
the need for a purpose-built VFX department.
“Our relationships that we have built along the way, as well as a
great personnel, particularly Sarah Stiteler in our business development
group, made it possible to connect with Sony Television
and the executive producers on Preacher,” he adds.
As a conversion house, Legend 3D had developed a pipeline
centered on compositing. This suited what was required
for Preacher, since much of the work involved split takes and
greenscreen set extensions. Legend 3D was also able to take shots
further into CG where necessary.
“The pipeline, software and talent complemented the needs of
the show,” states Ghering. “Additionally, there were some opportunities
to build out a specialized CG team to handle specific shots
and environments.”
TOP: Dominic Cooper as Jesse Custer in Preacher.
Much of season two was set in New Orleans.
(Photo credit: Michele K. Short/AMC/Sony
Pictures Television. Copyright © 2017 AMC Network
Entertainment LLC and Sony Pictures Television Inc.
All Rights Reserved.)
GOING STEALTHY
Legend 3D’s intention was to have its work remain invisible.
“If someone knows you have done the work then you haven’t
done your job,” says Ghering.
“Being able to train your eye to know where the sweet spot
is can be difficult,” he adds. “You can easily over or underwork
something that is supposed to be subtle. The artists want people to
know they’ve been there and the client often wants to see where
the value in the shot is. If it’s invisible then how do you quantify
either?”
To that end, Ghering says one of the best notes they received on
Preacher was, ‘I don’t know what is CG here, so that is probably
a good thing’. Head of VFX Production at Legend 3D in Toronto,
54 • VFXVOICE.COM WINTER 2018