IGN AvP Movie Spoilers!!!!!

Over at IGN FilmForce, they’ve released a two page interview with John Bruno, the person who takes care of the visual effects in the Alien vs Predator movie. He’s mentioned some very exciting scenes that take place with the Predator and how his cloaking, vision modes and CG weaponry work. Also discussed is what’s going to be in the next AvP trailer along with the final sequence in the movie. Take a look at a few of the questions:

IGN: The Predator has a lot of weapons. How many of those are CG?
BRUNO: We have to make the blades – there are bigger blades this time – so we have to have them pop out in CG. There’s no other way to do it. The same thing with the flying disc – it pops out blades. They have the end position and the empty position; we do the rest. The spears do the same thing.

***Spoiler Warning***

IGN: What has been your biggest challenge on the film?
BRUNO: Well, coming up with the Predator cloaking… We’re doing some spectacular things in this film. We’re not just having the Predator stopping, then the dissolve come. We have him leaping a 25-foot gap in the Chamber of Gods and while in mid-air he disappears, but the camera still follows him. It’s very complex motion control – repeatable passes. It takes a long time and there’s a lot of pressure. But it’s going to look fantastic. We’ve already got some rough cuts together and it looks really good. Getting to see every aspect and every minute detail of how a face-hugger leaps – we shot it at 300 frames a second. It’s all CG – the face hugger leaps across the room. So there’s a scene where they’ll all be flying and you’ll get to study them a bit – like flying squirrels, they’re lining up their targets. I already saw the rough cuts on that and we’ve got some pre-visualizations that look really good.

IGN: What about Predator vision?
BRUNO: Predator vision we’ve basically pushed much farther. We studied the first one – we don’t want to do something that’s completely not the same, but we’ve got four stages of it. What Predator vision was in the first two movies was basically an optical, hand-animated pattern over a live-action image. We’re taking that as a look, but we’ve basically found a military grade heat-sensing technology that actually does that and it looks pretty spectacular. But that’s when we’re in wide shots. We’re going to enhance that somewhat and we’re doing it in 3-D layers. When the Predator is looking for specific things – he goes inside Weyland, looking at his physical stature – and by going into his body and looking at his organs he can tell that this guy’s not worth the fight and just leaves him behind. So we’re doing that sort of thing. Muscles, bones, and organs.

IGN: The Predator has a lot of weapons. How many of those are CG?
BRUNO: We have to make the blades – there are bigger blades this time – so we have to have them pop out in CG. There’s no other way to do it. The same thing with the flying disc – it pops out blades. They have the end position and the empty position; we do the rest. The spears do the same thing.

IGN: What shot are you working on right now?
BRUNO: There’s a trailer shot we’re working on. It’s a flashback that tells the story. The actors are reading hieroglyphs – interpreting hieroglyphs – to find out what’s been going on here and why this whole pyramid exists. There’s this one shot which we’ll do for the next publicity run is a pull back… They’re sort of interpreting the hieroglyphs and it says, “When things were going right, they were really right. But when they went wrong…” We cut to three Predators on top of a pyramid, stormy sky, lightning, completely covered in Alien blood. They’re smoking and steaming – it’s kind of a Frazetta shot – a big pile of Alien parts. The camera pulls back from the top of this pyramid and you see thousands upon thousands of Aliens. They’re done. You just keep pulling back and you see this entire pyramid overrun by Aliens. And then they activate their bomb, which is what happened to the Incas. Where did those people go? They just disappeared one day.