“We let everyone know that the AI approach was not going to be a one-size-fits-all answer to all the Bizarro shots,” Gore explains. We wanted a substance there, but didn’t want it to be bone and skin because it’s CW.”Īdding to the shot count was number of deepfakes associated with the character of Bizarro, who is revealed to be an alternative dimension version of Superman.

We didn’t want it to be holes underneath and you see through him. Todd wanted it to feel that he is breaching something, but we also wanted to sell that there is something behind it, and then he had to shred in there at some point.

It evolved to a certain point, and we knew that we wanted it to feel like it had depth to it. We need some cool flash that is supposed to sell that it’s him traveling through the portal. Our in-house team started a look in Episode 201 where Bizarro is flashing to stuff. “Then we had this whole other thing where once he’s inside there, what does it look like? It goes back to who does what. “There had to be some component of him getting shredded as he enters it,” Gajdecki adds. We go from there and start narrowing down the focus.” Superman gets affected in a dramatic way.

Comments Gajdecki, “Upon hearing that there was going to be a portal, we got all of the reference together, numbered all of the references, put it out in front of our executives, got on the Zoom and asked, ‘Todd, is any of this close to what you’re thinking?’ He might have 50 images to look at, and we start to talk about the nature of the portal, what’s the portal doing and the behavior. “The barn has burned down and the farmhouse is dilapidated.”Įpisode 208 features a portal. “The farmhouse ended up in Bizarro World, so even though the farmhouse didn’t change between seasons, there was a whole new farmhouse and barn,” reveals Gajdecki. They’ll say, ‘We don’t have these artists available for those weeks, but we have these who are available.’ We’re constantly trying to fill what somebody can do.” Even though there are assets and locations that carried over from Season 1, modifications still had to be made. It won’t be like the shop that wants to take the work and figure it out. “In my conversations with them, are you available and can you do this work? They’ll tell you flat-out. “We have an honest relationship with our vendors,” Gore notes. Among the contributors are Zoic Studios, Refuge VFX, Boxel Studios, Frame Lab Studios, Barnstorm VFX, Tribal Imaging, Od Studios and Lux VFX. Also expanded are the number of vendors, which can be a many as 15 depending on their availability.

Bigger ambitions have meant that the visual effects count increased from 2,300 to 2,500 shots for Season 1, to an additional 25% for Season 2.

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