Monday, July 13, 2015

Comic-con Saturday Recap

This was my tenth consecutive year attending the San Diego Comic-con. The convention seemed to noticeable escalate in size between 2005 and 2010, but the last five years have all felt basically the same, with the convention taking over the center as well as increasing portions of downtown. I only go on Saturdays at this point, and it's a pleasure to reunite with my old San Diego buddies, as well as anyone who is able to make it down from Los Angeles or other cities. I try to sample a little bit of the floor and upstairs panels each year and this year I attended three panels: 3D Printing with Adobe Photoshop, William Shatner's motion comic "Man O War," and Google Spotlight Stories, which are akin to a CG theatrical performance you watch on your phone.

The Google Spotlight Stories panel had animators Patrick Obsorne (director of "Feast") and Glen Keane ("Duet"), who were very nice to speak with and kindly posed for photographs. I'll have to draw some caricatures of these gentlemen soon.

With "Feast" director Patrick Osborne, before the Google Spotlight Stories panel.
With master animator and "Duet" director Glen Keane after the end of the panel.
Walking around the floor was fun as usual, with the chance to view the finely-textured costumes from Batman vs. Superman up close, and exploring the illustrators tables, where I was positively blown away by Heather Theurer's incredible fantasy work, especially her realistic renditions of Disney characters:
Heather Theurer's take on the Frozen sisters.
Lilo and Stitch, with Mulan underneath.
Another artist, Scott Smith, made a series of typographic prints that fit every line of dialogue from popular movies on them:

I also saw Star Wars concept artist Iain McCaig doing some live portrait drawing, which was enlightening (the drawing advice he gave to his subject was to "get completely lost in your reference.") Terry Dodson's "Vespa Girl" was irresistible, so I snagged a postcard of it as I walked by his table. Little surprises like these are the reason why it is still worth it for me to continue going to Comic-con each year.

The Speed Chart

In previs, there are often times when you have to animate objects flying through space: birds, helicopters, spaceships, angry flying monkeys, etc. With live action previs, however, the speeds at which your objects move have real-world implications when it comes time for the film crew to shoot, so you'll need to keep accurate speeds in mind. That way your previs team can inform the director and  his crew how fast their helicopter will have to travel to catch up with all those angry flying monkeys.

Speed can be something a bit difficult to visualize for comparison, so here is the Speed Chart I ended up making:

If I had something like this before I started researching, it would have saved a lot of time. I hope this comes in handy for you at some point.

Apollo 10:
Space Shuttle:
Bell X-1:
B-2 Bomber:
Cruise missile:
P-51D Mustang:
News Helicopter:

Tuesday, May 5, 2015

Proof CEO Ron Frankel to Speak about Previs and Postvis at FMX

For those attending FMX this year in Stuttgart, Germany, the Proof, inc. CEO Ron Frankel will be presenting there on May 7th. He will go in depth on the work done on Guardians of the Galaxy and Night at the Museum: Secret of the Tomb. For more details, click this link for the FMX post.

Friday, March 6, 2015

New Extended Look at Furious 7's "Cargo Drop" Sequence (With Posters!)

I'll get right to it:

Suffice it to say that this movie has some wild stunts and sequences like the cargo drop, which was the first part of the movie I worked on when I joined the project two years ago. Those who appreciate how the series is going more and more over-the-top will love it for sure.

Less than a month to go before it drops...

Thursday, March 5, 2015

New article for Influx Magazine

I adapted my last blog post into an article for Influx Magazine about this year's Visual Effects Oscar winner. The article is called "Interstellar and the VFX Oscar: What History Tells us about how Much the Academy Loves Space Movies." I recommend it to anyone interested in Oscar History and who loves space movies. Please give the link a visit and leave a comment if you enjoyed it. Thanks!

Tuesday, February 24, 2015

2015 Oscar Recap/Space-Themed VFX Winners of the Past

Sunday night was the 87th Academy Awards, an event that always provides plenty of pomp, some touching tributes, passionate speeches, so-so jokes, and several "train wreck" moments. It looks like the ratings weren't great this year, and there seemed to be little interest by the Academy in mixing up the format to address the same complaints you always hear about the ceremony (running time, pacing, caliber of jokes). Out of all the nominees, Birdman's far-out concept, dream-like cinematography (by back-to-back winner Emmanuel Lubezki), and terrific performance by Michael Keaton (one of my favorite actors) made it easy to root for in the Best Picture category. It was being heavily promoted last year when I was working at the Fox Studios lot, and I'm glad to see so many others enjoyed it. Fox proved to probably have the best 2014 out of all the studios, coming in #1 with market share, earning the most Oscar nominations, and winning the Best Picture award. The cherry on top was a music tribute to the studio's 1965 box office smash and five Oscar-winning The Sound of Music (a mural of Julie Andrews in those iconic Swiss Alps still hangs at the studio lot).

Since I entered the Oscar pool at work this year, I paid extra attention to who was winning at the Screen Actor's Guild Awards, the British Academy of Film and Television (BAFTAs) Awards, the Golden Globes, and the Visual Effects Society (VES) Awards. In a year with many heavy favorites, the "Best Visual Effects" winner seemed harder to determine. Director Christopher Nolan's space epic Interstellar ended up taking home the Academy Award, which not only surprised those in the VFX industry who assumed Dawn of the Planet of the Apes would win, but also broke Todd Vaziri's "Predictinator," a formula specifically devised to predict all of the VFX Oscar winners from 1989 to the present day. The formula weighs the factors of critical acclaim, box office returns, total nominations, release date, whether the movie was a sequel or not, the caliber and type of CG creatures it contains, and actor prestige, and predicted the dark horse space comedy Guardians of the Galaxy would win the award.
"Predictinator, you are flawed, and imperfect! Execute your prime function!"
Dawn of the Planet of the Apes (another movie with lots of creature animation) had won the VES Award earlier this year, which was viewed by many to be a strong contender. The voting body of the VES Awards are visual effects artists who are well-informed of the latest technology and have extremely critical eyes toward this aspect of filmmaking. Before the Oscars, I read a post by Todd which took a closer look at how good a predictor the VES Awards are for the VFX Oscar, and it turns out that the BAFTAs have been slightly better since 2002 when the VES Awards began.

Even though it won the BAFTA for Special Visual Effects, a possible knock on Interstellar's chances at getting the Academy Award was that Gravity won last year for Best Visual Effects, and an argument could be made that it would be unlikely that two movies with the same setting of space would win back-to-back. Despite this nagging thought and a clear Predictinator pick for Guardians, I sided with Interstellar, which had strong Las Vegas odds and a BAFTA win that could not be ignored. I ended up winning our Oscar pool by one point for a total of nineteen correct picks out of twenty-four.
With a two-year trend now established for space movies winning the Best Visual Effects Oscar, I became curious about how the genre had done historically throughout the Oscars, including back in the early years when the award was for "Special Effects" and "Special Achievement in Visual Effects." How many times had space-themed movies won? How many years had one or more been nominated? Did the Academy tend to reward the genre once it became nominated?

I returned to the familiar sight of the Visual Effects Oscar winners Wikipedia page, which was the main resource back when I wrote my "VFX Oscar Elite" post. I counted how many years that a story involving outer space had been nominated for Best Visual Effects (or its equivalent), and then compared it to its fellow nominees for those years. I kept track of how the "terrestrial" movies (ones that did not significantly involve outer space) did in these years as well. The breakdown is below:

bold  space-themed winner
blue  year with multiple space-themed nominees
red  terrestrial beat a space-themed nominee
purple  terrestrial beat two space-themed nominees

2014: Interstellar
2013: Gravity
2012: Life of Pi
2011: Hugo
2010: Inception
2009: Avatar
2008: The Curious Case of Benjamin Button
2007: The Golden Compass
2006: Pirates of the Caribbean: Dead Man's Chest
2005: King Kong
2004: Spider-Man 2
2003: The Lord of the Rings: The Return of the King
2002: The Lord of the Rings: The Two Towers
2001: The Lord of the Rings: The Fellowship of the Ring
2000: Gladiator
1999: The Matrix
1998: What Dreams May Come
1997: Titanic
1996: Independence Day
1995: Babe
1994: Forrest Gump
1993: Jurassic Park
1992: Death Becomes Her
1991: Terminator 2: Judgment Day
1990: Total Recall (uncontested)
1989: The Abyss
1988: Who Framed Roger Rabbit
1987: Innerspace
1986: Aliens
1985: Cocoon
1984: Indiana Jones and the Temple of Doom
1983: Return of the Jedi (uncontested)
1982: E.T. The Extra-Terrestrial 
1981: Raiders of the Lost Ark
1980: The Empire Strikes Back (uncontested)
1979: Alien (4 space nominees)
1978: Superman (uncontested)
1977 ("Best Visual Effects" from this year onward): Star Wars
1976 ("Special Achievement in Visual Effects"): King Kong
1975 ("Special Achievement in Visual Effects"): The Hindenburg
1974 ("Special Achievement in Visual Effects"): Earthquake
1972 ("Special Achievement in Visual Effects"): The Poseidon Adventure
1971 ("Best Visual Effects"): Bedknobs and Broomsticks
1970 ("Best Visual Effects"): Tora! Tora! Tora!
1969 ("Best Visual Effects"): Marooned
1968 ("Best Visual Effects"): 2001: A Space Odyssey
1967 ("Best Visual Effects"): Doctor Dolittle
1966 ("Best Visual Effects"): Fantastic Voyage
1965 ("Best Visual Effects"): Thunderball
1964 ("Best Special Effects"): Mary Poppins
1963 ("Best Special Effects"): Cleopatra
1962 ("Best Special Effects"): The Longest Day
1961 ("Best Special Effects"): The Guns of Navarone
1960 ("Best Special Effects"): The Time Machine
1959 ("Best Special Effects"): Ben-Hur
1958 ("Best Special Effects"): Tom Thumb
1957 ("Best Special Effects"): The Enemy Below
1956 ("Best Special Effects"): The Ten Commandments
1955 ("Best Special Effects"): The Bridges at Tokyo-Ri
1954 ("Best Special Effects"): 20,000 Leagues Under the Sea
1953 ("Best Special Effects"): The War of the Worlds (uncontested)
1952 ("Best Special Effects"): Plymouth Adventure
1951 ("Best Special Effects"): When Worlds Collide
1950 ("Best Special Effects"): Destination Moon
1949 ("Best Special Effects"): Mighty Joe Young
1948 ("Best Special Effects"): Portrait of Jennie
1947 ("Best Special Effects"): Green Dolphin Street
1946 ("Best Special Effects"): Blithe Spirit
1945 ("Best Special Effects"): Wonder Man
1944 ("Best Special Effects"): Thirty Seconds Over Tokyo
1943 ("Best Special Effects"): Crash Dive
1942 ("Best Special Effects"): Reap the Wild Wind
1941 ("Best Special Effects"): I Wanted Wings
1940 ("Best Special Effects"): The Thief of Baghdad
1939 ("Best Special Effects"): The Rains Came

In seventy-four years of the award's existence, a space-themed movie has won for Best Visual Effects nineteen times and lost twelve times. Twenty times in the last thirty years there has been at least one nominee of this kind. Not only have there been multiple back-to-back years of space movie winners, there was even a four-year streak between 1977-1980 where the visual effects of space movies were apparently irresistible to the Academy. Life of Pi has been the only terrestrial movie which was able to win the Best Visual Effects Oscar in a year with multiple space-themed nominees.

On the flip side of these wins, there have been some notable losers with a space theme: Star Wars Episode I and II, The Avengers, Prometheus, Apollo 13, Alien 3, Predator, 2010, Starship Troopers, and more. Transformers moviesStar Trek movies, and Star Wars prequel movies have never won in their seven total nominations. Interestingly, Star Trek movies have only lost to other space movies. Three times out of seven did a terrestrial movie beat a Star Wars, Star Trek, or Transformers movie (The Matrix, The Lord of the Rings: The Two Towers, and Hugo). To summarize, when space-themed movies get nominated for the Best Visual Effects Academy Award, history shows that they win 61.3% of the time (19/31). If they are not a Transformers movie or Star Wars prequel, they beat a "terrestrial" movie 67.9% of the time (19/28).

Some other things I noticed:

1) Comic book movies are almost all doomed to lose the Best Visual Effects Oscar, with a mere two wins out of thirteen nominations. A record-setting three comic book movies were nominated this year, and all came up short. All three Iron Man movies lost--two of those three times to terrestrial movies. The Avengers lost, despite its space content and plentiful CG aliens. Every Batman movie has lost, and a Superman movie only won in an uncontested race. Both Spider-Man nominees were in contested races though, and one ended up winning, however that win was in a year with no space nominee.

2) Peter Jackson movies are two-for-three in defeating space-themed contenders for a Best Visual Effects Oscar. Christopher Nolan movies are two-for-three in this category.

3) Since 2002, the BAFTAs are now +2 over the VES awards in predicting the VFX Oscar winner.

4) The Return of the Jedi is probably the most intentionally-funny space movie to win the Best Visual Effects Oscar, which is saying something (and no, the exploding head moment in Total Recall doesn't count). As it does in the other Oscar categories, the Academy sides overwhelmingly with dramas over comedies. So much in fact, that it's amazing the outright-goofy Guardians of the Galaxy was considered a contender for the award at all.


After taking this long look from another angle at the history of the Best Visual Effects Oscar award, I have learned that space-themed movies tend to do very well overall. Audiences have now seen black holes, worm holes, exploding planets, and aliens of every shape and size, and it seems like everything they can imagine has been covered at this point. Conversely, there is practically no limit to what the VFX industry can visualize at this point in its history, and the sci-fi genre will never cease to be interesting to moviegoers, so there will assuredly be many more nominees and winners. Not only did Interstellar's lead actor Matthew McConaughey have "actor prestige," but its Oscar-winning supporting cast of Anne Hathaway, Matt Damon, Michael Caine, and Ellen Burstyn, (did I miss anyone?) might have been worth a bit more weight in Todd and his wife's formula to tilt Interstellar over Guardians of the Galaxy, whose cast only had Oscar nominees as far as I can tell. This could also be seen as a win for the space drama genre over the (all too rare) space comedy. These factors might be worth considering when Todd pops the hood on his Predictinator and looks around for parts to upgrade.

"You're gonna need a bigger wrench."

Saturday, February 21, 2015

Running Errands in LA, as told by Harvey Keitel

I made this for those who drive in this city (the map is a screenshot of my phone). Tumblr didn't post this correctly, so I'm crossposting it here. You start off thinking you're the Wolf, but then life gets in the way. 

Monday, February 2, 2015

2015 Super Bowl commercials and trailers

At the end of last year, I worked on several commercials at Proof, inc. Two of these commercials, one for Turbotax and one for Pepsi, aired on television yesterday during the Super Bowl. A new trailer for the upcoming Furious 7 feature film aired as well, which contained shots I did previs and techvis for back in 2013.

TurboTax: "Boston Tea Party"
I did previs for the first few shots of the Sons of Liberty storming the HMS Surprise (one of the replica ships in the collection of the Maritime Museum of San Diego), and modeled previs characters for the other sequences. I was a bit surprised at seeing so many YouTube comments showing outrage for the mockery of the founding fathers. I thought it was a funny spoof.

Pepsi: "Halftime Touches Down"
Continuing with their recurring U.F.O. theme that they've done for decades, Pepsi's halftime commercial featured previs by our Proof, inc. team. The segment I previsualized involved teenagers playing music in their garage with a nearby dog:

Furious 7 movie trailer
Coming to theaters April 3, Furious 7 has a new movie trailer to get people excited about the upcoming film. I helped previs and techvis the sequence of a Lykan Hypersport crashing through the Etihad Towers in Abu Dhabi, and did previs for the cargo drop skydiving sequence.

As always, I enjoyed working on the teams for these and learning about new ways to use Maya and After Effects to achieve what our directors were striving for. Each project was a new challenge in its unique way, and I liked how the commercials came out. It will be fascinating to see how Furious 7 turned out this Spring.

Monday, January 26, 2015

Sketching and doodling

I haven't drawn in what felt like eons, so it was time to go Cintiqing and scrape off the rust.

Photo reference warm up.

A battle royale between all of the 'Best Visual Effects' Oscar nominees.

Friday, January 16, 2015

'X-Men: Days of Future Past' receives Academy Award Nomination for "Best Visual Effects"

Congratulations to the Visual Effects team on X-Men: Days of Future Past on their Academy Award nomination. It was a great project to work on and I was happy with the result.

Monday, January 12, 2015

2015 VFX "Bake-Off" Recap

This weekend I attended the Visual Effects "Bake-Off" at the Samuel Goldwyn Theater in Beverly Hills. It was fascinating and entertaining look at the best visual effects in film for 2014, as presented by the visual effects supervisors and vendors who produced the final results. Previs was mentioned at times as well, which was nice. At this point in filmmaking, previs settles so many storytelling, art direction, and composition decisions early on, which allows the final vendors to concentrate more of their limited time on producing photorealistic effects.

Going in to the bake-off, the finalists to choose from for the Academy Award for Best Visual Effects are (bold = projects I worked on):

Captain America: The Winter Soldier
Dawn of the Planet of the Apes
Guardians of the Galaxy
The Hobbit: The Battle of the Five Armies
Night at the Museum: Secret of the Tomb
Transformers: Age of Extinction
X-Men: Days of Future Past

After watching so many incredible shots throughout the bake-off, it was clear this is a very tough, competitive year. I have a feeling Marvel Studios will emerge with only one nominee. Transformers will probably be left out again. I have not seen Maleficent, but I know it did very well at the box office, which makes it a strong contender against other kid-friendly movies like Guardians and Godzilla. When all the dust clears, I think the finalists will be:

Dawn of the Planet of the Apes
Guardians of the Galaxy
The Hobbit: The Battle of the Five Armies

Tuesday, December 9, 2014

Final 10 Visual Effects Contenders Announced


Captain America: The Winter Soldier
Dawn of the Planet of the Apes
Guardians of the Galaxy
The Hobbit: The Battle of the Five Armies
Night at the Museum: Secret of the Tomb
Transformers: Age of Extinction
X-Men: Days of Future Past

The ones I worked on are in bold. Nolan's Interstellar might be a favorite for the statue, but the Academy also loves it some CG main characters, so Dawn of the Planet of the Apes stands a good chance too. Personally, I loved how Godzilla came out, and will be especially rooting for that one (although the variety of work done for Night at the Museum 3 was quite challenging to film as well).

Monday, December 1, 2014

Monday, November 10, 2014

New interview on the TALKING MOVIES podcast

Recently I was on a podcast talking about the previs and animation work that I have done on films here in Los Angeles. Topics covered include: The Avengers, Divergent, Godzilla (2014), Night at the Museum 3, Furious 7, and The Thief of Bagdad (1940).

Talking Pictures w/Paul Booth and Josh Lange, Previs for Divergent and Godzilla 11/03

Saturday, November 1, 2014

New FURIOUS 7 trailer is now online

After an emotional roller-coaster of filmmaking, the trailer for the new Fast & Furious movie is here. Entitled 'Furious 7,' the movie will have daring stunts and more of the high-stakes action fans of the franchise expect. Working on it was a fun challenge, and I'm happy with how our previs looks to have transitioned to the final photography.

Here is the official trailer. It starts off with our cargo drop sequence and transitions into the bus rescue. These were the first sequences I worked on when I started on the project last year. I hope the fans enjoy it.

Friday, October 10, 2014

Steven on Steven: Studying Staging with Spielberg and Soderbergh

I'm late on this, but I wanted to reblog this Steven Soderbergh post about his exercise to study the "staging" (moving the camera and its subjects) of Raiders of the Lost Ark, after removing all the color and replaced the audio with a techno track. This is a great way to study staging, and it's part of why it's great to watch old black and white movies, even if you're making the latest Hollywood visual effects-oriented films.
The definition of unforgettable staging. 
I recently watched a 1950 noir film by Elia Kazan called Panic in the Streets, which used particularly inventive staging back when camera movement was much more limited. In order to keep his long takes interesting, Kazan repeatedly blocked his scenes out so that characters would move close up and far away from the camera. This resulted in a single continuous shot that would overtime go from a wide shot to a medium shot to a close up and even back to a wide shot at times. There is an uncomplicated scene with just two characters, where the husband (Richard Widmark) goes around their bedroom to retrieve different parts of his Naval uniform, where this is done well. The simple things, if done well, can make all the difference with staging.

A fantastic noir outbreak disaster movie, by Elia Kazan.
 Although I cannot be 100% sure Soderbergh has seen Panic in the Streets, I would venture to guess he has, because it was a notable early "outbreak disaster film" that could have served as useful reference for Soderbergh's own outbreak movie Contagion. Watching any of these movies would greatly help a student of film understand how to build tension with advanced staging. Although I've heard it attributed to Ingmar Bergman and not David Fincher as Soderbergh does, the notion that there is only one "best" way for a scene to be staged is a high standard, and one that should be aspired to by all filmmakers.
Steven Soderbergh's own take on the outbreak disaster genre.

Wednesday, September 24, 2014

THE MAZE RUNNER is now in theaters!

Although I have not seen it yet, I have high hopes that our previs came out well in the final picture. Congratulations to all the people who helped make the movie happen.

Friday, August 8, 2014


Just got back from an amazing experience at the Paramount Studios lot, where the crew screening was being held for Teenage Mutant Ninja Turtles. I worked on the film doing previsualization for two months while at The Third Floor, inc. The group of us at the time were all focused on the snowy mountaintop chase sequence between the Foot Clan, April, Vernon, and the turtles, and the sequence had a glut of over-the-top action that was fun to animate. It was a helpful challenge as well because we had to make lots of fast revisions, often in front of the second unit director, who would provide notes alongside us as we worked. The part I worked on that I liked the most was when Donatello slings Raphael (always my favorite turtle) into a Humvee at (0:54):

Visiting Paramount Studios was a dream come true for me and my longtime friend Paul, who I brought as my guest. He showed up a bit earlier than I did, and showed me a few landmarks on the lot before showtime. It was great to see the Robert Evans office, as well as the sound stages for Rear Window, The Man Who Shot Liberty Valance, Coming to America, and many others. Before we went in to the theater, we got a shot near the famous arch that leads to the sound stages:

With fellow Vancouver Film School alum Paul Booth outside the gate to the Paramount sound stages (Hollywood sign in the far background).
 The Paramount Pictures theater was very nice and felt like a real theater you'd walk up to on the street, complete with a lobby. We saw it in 3D in what felt like the loudest theater I've ever been to (I guess it's known for that).
Inside the Paramount Theater lobby.
The original, classic Paramount logo.
Seeing the movie was entertaining, and I know it will blow the minds of young kids like the first ones did when I was a kid. Being a part of that cycle for the next generation of moviegoers was a treat, as it always is.

Update: So it looks like the public loved it! $65 million domestic gross ($20 million above projections). Nice to see people enjoyed it.

Wednesday, July 9, 2014

Godzilla previs article on Animation World Network

Roaring Through the Previs of 'Godzilla' (full article, with previs/final comparison pictures)

Here are excerpts that describe two of the parts that I helped with when I was on the previsualization team:

"Dan Sarto (AWN)In terms of the third act, what were the biggest challenges you faced in with the previs?
Eric Carney (The Third Floor): The sequence consists of Godzilla, who is fighting two other creatures, the Mutos, in San Francisco. We've seen Godzilla before, and he's kind of like a big lizard, so we had a fairly good idea of how he might move. But one of the biggest challenges was figuring out how to animate the Mutos. When we were given the designs of the creatures, they were still in development actually. There was a lot of exploration work with Gareth in order to figure how the Mutos would fight and how Godzilla would fight them.
We started to look at footage of animals - Komodo Dragons, bears, even some winged creatures. Gareth sent us a lot of reference material of real animals fighting. So we started out doing a lot of fight tests and sending them over to Gareth, figuring out what he liked and didn't like and developing it further. He had a vision for the film, that even though it's a monster movie, it would feel very grounded in reality. So with that in mind you have to think of these monsters just as big animals, and research how big animals fight each other. A lot of the things you might think would be cool for a monster fight aren't the kind of things real animals do. So there was a lot of exploration in finding the right tone."
DSAny highlights from your work on this project?
EC: It was a great project. In the end we had about 40 minutes of previs, once everything had been edited down. So there was a large amount of footage. The halo jump was definitely a highlight, and a lot of the imagery in the final sequence, the trailer, and the poster are close to the previs we did. Working with Gareth too was really a fantastic experience. He was a very collaborative director and a lot of the suggestions we put forward made it into the movie. Seeing the final product was great!

It really was. As mentioned in an earlier Godzilla post, the first Maya scene I animated after graduating from Vancouver Film School was a fight between two enormous monsters in downtown Vancouver. To think that the experience from back then would help inform the motion of the real Godzilla all those years later makes my head spin.

Tuesday, July 1, 2014

Edge of Tomorrow movie review

Now that Transformers 4 is out and sucking up box office attention like a black hole, I thought I'd mention this movie. It's a great surprise, and people should see it before it's out of theaters. Third Floor did the previs and motion design for the aliens, which translated in the film as erratic and menacing. I kept thinking of alternative ways for it to have ended, but overall it was a very well done movie that could have only been pulled off by a top-notch creative team. Congrats to the filmmakers.

Now I need to finally see Looper...