Amazing "Free Guy" VFX Breakdown!

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Free Guy is a 2021, Science fiction action comedy movie, that is basically the answer to the question: What would happen if you mixed The Truman Show and The Matrix with Sim City, Grand Theft Auto, and Fortnite? As it turns out, it is actually very entertaining and has some stunning visual effects. Like the music in this video? I made it!
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A total of 11 VFX houses worked together to produce the visual effects for this movie, Digital Domain, Scanline, and ILM were the primaries and Raynault VFX, Mammal Studios, Capital T, Lola Visual Effects, Twisted VFX, Stereo D, and BOT VFX were secondaries and Halon worked with Digital Domain to provide Previs work.

VFX supervisor Swen Gillberg was in charge of dividing up the VFX workload and sequences were given out according to each VFX vendor's strengths. However, we were told that Scanline VFX supervisor Bryan Grill and Digital Domain VFX Supervisor Nikos Kalaitzidis did jokingly arm wrestle for a particular sequence, although we weren't told which sequence this was or who won!

Three Guy.
Free Guy actually has three different worlds: The photo-real virtual world inside the Free City game as seen by the characters who form part of the game, the lower resolution, game-like version as seen on the monitors of the people playing the game, and then the real world, set in Seattle, where the game's creators, designers, and players actually live.

Digital Domain's VFX supervisor, Nikos Kalaitzidis told us that a tremendous amount of design work went into creating the look for video game version of the gaming world, not only did they research the subject heavily but they also used gameplays made by their own in-house VFX editor as reference. The director, Shawn Levy, used the Assistant VFX coordinator Charlie Lehmer (who is also an avid gamer) as a consultant to help get the look and feel of the gameplay. This amount of research and reference material was essential because finding the balance between virtual and reality was a such fine line to walk. If they made the characters look too real, it would look like the people playing Free City were watching a movie on their monitors rather than playing a video game. If they made it look too simple, the transition from seeing the game on the monitor to being inside the video game world would be too jarring and the audience would lose empathy for the main characters. In addition to this, the VFX team had to avoid falling into the unnerving realm of "uncanny valley". Eventually, they settled on a stylized Grand Theft Auto type of look with a more vibrant "Fortnitesque" color scheme.

For the numerous stunt scenes happening throughout the movie, the VFX team had to produce 46 unique Digi-doubles including the characters Millie, BadAss, Mouser, Dude, Keys, and Buddy.

In order to create the Digi-double for Guy, Ryan Reynolds had to visit Digital Domain's facilities where they took an ICT scan of his face, Basically, an ICT scan uses a light stage to shoot light from different angles at a subject (in this case Ryan Reynolds). The data of how the light reacts is processed and this supplies detailed maps including displacements, depth and area of subsurface scattering, and specular values on the sheen on his skin.

Free Dude.
Lola VFX was given the task of digitally transplanting Ryan Reynold's face onto the body of "Dude".
In order to do this, Lola used their own specialized lighting rig that they affectionately called "The Egg". The Egg is a series of programmable LED panels and six cameras that are positioned all around the actor, forming the shape of... you guessed it, an egg!

Free City.
Principal photography took place in Boston, so naturally, the primary look and layout of Free City were based on Boston. Using reference photos, LIDAR scans and data gathered during principal photography including drone and aerial footage that was taken for the BadAss opening shot, Scanline built 1.5 miles of high-resolution downtown, starting from the Free City bank location down to Hitman's Beach. This downtown area was surrounded by 3 miles of mid-resolution city environment which in turn was surrounded by 6.2 miles of low-res environment.

Neural Rendering.
During post-production, for the scene where BadAss hands Guy the evidence, the filmmakers felt a reshoot was necessary so Channing Tatum could say an extra line that was crucial to help the audience follow the story, unfortunately, it wasn't practical or indeed logistically possible for Tatum to come back to reshoot the line so the filmmakers asked Digital Domain if there was something they could do...

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