Lead by VFX supervisor Pete Dionne and producer Cecilia Marin, MPC worked on 450 shots for Disney’s fantasy-adventure film A Wrinkle in Time. The story of Meg Murry and her little brother Charles Wallace’s dangerous journey to find their father on the evilest planet in the universe.
The team’s biggest challenge was undoubtedly a menacing forest chase sequence that takes place on the planet of Camazotz. Plate photography was shot on a cloudy day in California, with the special effects crew using rain machines and small explosions to interact with the actors. MPC’s team was then tasked with building an extensive CG environment around the kids, one that could come to life and destroy everything in their path. This involved modelling perishable trees, vegetation and rocks to increase the destruction seen throughout the sequence.
At one point in the sequence MPC were required to create a colossal dust cloud that continued to grow, forming a funnel of earth, dust and foliage. As well as the main simulations a number of additional debris and foliage passes were run, along with shot specific dust and atmospheric effects. Ultimately many of these shots involved upwards of 30 separate simulations all interacting with one another.
MPC also worked on the Cave of the Happy Medium, an environment made of translucent crystals, home to a being of great wisdom and inner balance. The team had to find the right amount of ‘crystal’ component to allow for interesting lighting and refraction without creating a sense that this environments’ props were entirely crystalline structures. The lookdev, lighting and environment departments honed the material’s look and properties before the compositing team had to nail the final balance and push light effects to create the look of the film.
In addition to these sequences, MPC also worked on shots for the ‘Land As Gift’ scene. A process that required magical FX work, compositing, digi-double wardrobe and hair effects.