Face of a Venom

3D World - - FEATURE -

DNEG an­i­ma­tion Di­rec­tor troy Sal­iba DIS­CUSSES the Dif­fer­ent ap­proaches to re­al­is­ing VENOM’S Very par­tic­u­lar fa­cial mo­tion

Mouth shapes: We had to be very care­ful about how we phrased all the words and syl­la­bles he was speak­ing, and es­pe­cially if he was enun­ci­at­ing things re­ally slowly you could re­ally roll the lips across and get those shapes. If he was speak­ing quickly, we al­most had to im­ply the shapes be­cause oth­er­wise you’d never be able to keep up with what Tom Hardy was say­ing.

Stay­ing on-model: He started to get re­ally off­model the closer the lips got to the cen­tre. And the big­ger that lit­tle strip of flesh un­der­neath his eye­lids would get, and the more off-model he would get – it would start to feel very sort of duck-like all of a sud­den. It was a very weird dance that we had to do to get the shapes we needed, but keep him on-model and not pull peo­ple out by hav­ing to change how he looks too much.

Tongue-tied: The di­rec­tor tended to lean more towards the iconic look from the comics, but the tongue ended up, over­all, be­ing less prom­i­nent than what was orig­i­nally con­ceived. When he was talk­ing, he couldn’t be talk­ing with that big tongue out. So we had to find ways to get those iconic looks where the tongue is a big, prom­i­nent thing, but then when he’s talk­ing, kind of tuck it away.

Ref­er­ence: We didn’t use fa­cial cap­ture or di­rectly ref­er­ence Tom Hardy, but if we had video ref­er­ence of Tom do­ing some­thing and thought there was a lit­tle fa­cial tick that he did, we would try to get the essence of that into our per­for­mance with­out hav­ing to tech­ni­cally fig­ure out how to math­e­mat­i­cally trans­late it. We would just vis­ually fig­ure out what Venom’s ver­sion of that was.

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