Los Angeles Times




In the climactic season of the Robinson family’s journey in space, visual effects retooled its methodolog­y by combining the art department and VFX teams. “There was very little division between us,” notes senior VFX supervisor Jabbar Raisani, who also directed the final episode. “This made sure there wasn’t any double work and what was being done practicall­y, we could execute well digitally and anything that couldn’t be done practicall­y, we took the lead on digitally. It was a real marriage.”

The VFX on the series has a story-above-all mentality. In prep, previs is created to support the emotional beats, which is further developed in the cutting room before visual effects steps back in to add the “flavor and flair.” Otherworld­ly locations are curated through reference pulls and style guides where custom concepts are then drawn from the imagery. Sets and locations are scanned and photograph­ed before everything is packaged and sent off to vendors to create the final look. “Once we know we have really nailed the story, we then add the spice,” says Raisani.

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