This fact is either a source of amazement or humiliation – amazement at the quality of the work, and humiliation that such work has been done with basically the same tools the rest of us use daily. Lola does employ 3D but only for reference – central to their work is just 2D compositing.
Lola has become a master of human characteristics. Central to Lola’s success is their understanding of how a body changes over time, and over the life of a human being, from the way ears and noses continue to grow in size relative to the rest of your face – to the way the lips and the top lip in particular turns under with age, giving the impression of thinner lips. fxguide’s story on this film was one of the most popular we ever published ( click here), and for good reason, the work was breathtaking and rather than the result of some newly published PhD, it was all down to artist skill combined with the keen observational skills of the Lola staff. Suddenly, Lola’s work could be discussed.
This changed with the third X-Men film – The Last Stand – when the two lead characters were required to appear in a flash back looking years younger. But it was never more than rumor, Lola never discussed its work and no actor would promote that their bum wasn’t really that small. Rumor had it that big name stars, REALLY big name stars were a little less beautiful than they appeared, and that for some never-disclosed amount, you could get a digital tummy tuck, a set of crows feet removed or a second chin lost. Original plate with Chris Evans Final shotįor a long time Lola’s work remained a secret, both in terms of how they produced such great work but also the very existence of their work. While Timely Comics (later Marvel) could just publish drawings showing the same character with the same face, both buffed and wimpy, the studio’s job would not be so easy.ĭirector Joe Johnston rejected notions of having a separate actor play the wimpy Steve Rogers, and Evans was keen to perform as directly as possible both sides of his character’s persona, as we discovered when we spoke to Edson Williams, visual effects supervisor for Lola VFX.
#WEAK CAPTAIN AMERICA ACTOR HOW TO#
This transformation was easy for Jack Kirby and Joe Simon when they first drew the character in February of 1939, but there was a real problem of how to have Evans play both the Nazi fighting All American Costumed Commando Avenger AND the pre-enhanced mild mannered wimp. In the Marvel film, Steve Rogers starts out as a small, short, underweight underdog, and then is transformed to the bulked up, real world shape of actor Chris Evans.
Using primarily Autodesk’s Flame and a wealth of now highly specialized and experienced expert artists, Lola has carved out a lead position in anti-ageing, body trimming, face replacement and now with Captain America: wimp building. Since nearly inventing the category, the go-to facility for digital makeup in Hollywood is Lola VFX in Santa Monica.
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