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| yna@yna.co.kr 2021-10-22 14:02:46
SEOUL, Oct. 22 (Yonhap) -- Although the survival game scenes in Netflix original series “Squid Game” were created in large artificial sets, they looked so real as if they were actually happening, thanks to the delicate and detailed touches of those workers behind the scenes.
CG and VFX were applied to from the world-hit dalogona’s sleek and shiny surface to the transparent glass steps installed high in midair.
Yonhap News has recently interviewed Jung Jae-hoon CEO of Gulliver Studio who took over the CG and VFX works for “Squid Game.”
“We made a fine trick,” chuckled Jung when Yonhap News told him that we can’t tell which scenes were made of CG and VFX.
He said that most films and dramas these days use CG and VFX, but the finest scenes are the ones in which those technologies are unnoticeable. So, the watchers being unaware of Gulliver Studio’s hard work hidden in “Squid Game”’s scenes is a pleasant compliment, according to the CEO.
The vast yard where the first game “Green Light Red Light” took place is an actual set but the high walls surrounding the set are made of CG. The gigantic doll girl is a real-size prop but its eyes rolling around to catch the players is a CG.
“As it was the series’ first game, the director had a lot to think of and decided the walls’ colors late. So they couldn’t paint them when producing the set. Also as making the walls high as the skies was almost impossible, we used CG for them,” said CEO Jung.
The colorful maze-like staircases through which the players moved around was actually a 3-story set virtually extended.
Not only complementing for the sets, they also created whole new spaces with such technologies for games such as tug of war and of crossing glass panels. During the two games, the camera shows the players in a dark space which makes it unable to guess the height of where they are standing.
“For tug of war and glass bridge game, the sides of where the actors were standing were important as well of course, but if the distance of the height collapses, the fearful atmosphere goes away too. We focused on well-depicting the distances in the space and at the same time not to make the set look fake,” explained Jung.
“For marble game, there were almost no scene without CG or VFX from a marble rolling over and hitting another to a marble’s trail left on the soil. There was a large actual piggy bank but when it was under the light we could too many scratches on its surface so we had to use computers for that. Also, it is embarrassing to say that the smooth surfaces of the dalgonas were CG but we did retouched the surfaces with computer works,” said the director.
He added that the biggest focus in “Squid Game” was “getting rid of awkwardness.”
“I put in a lot of effort in making the watchers feel confused about what’s real and fake like the film ‘The Truman Show’ but unable to feel awkwardness. The series’ spaces had to be fairy tale-like but grotesque at the same time which made working on “Squid Game” harder than creating places like the space that are familiar with CG or VFX,” said Jung.
“CG·VFX workers join in productions as an artist not a technician. Korea’s CGV·FX are quite upward leveled so rather than judging over how good the techniques are, it is important to think of how to make the contents more stand out using that technique,” said Jung.
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