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For Jumanji: Welcome To The Jungle Iloura worked on the waterfall and surrounding set extension shots, the vulture, the squirrel, and several digi doubles, for when Ruby kicks a rider from his bike and when Bravestone knocks another off with a branch.
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But Iloura's primary sequence was the “albino rhino” sequence, where a group of rhinos stampedes through a canyon chasing the heroes in a helicopter that is perilously low to the ground due to damaged rotor blades.
Iloura found a whole lot of reference of real rhinos and they also took a day trip out to video and photograph rhinos at Werribee Zoo here in Melbourne.
The Jumanji rhinos are hybrids, they're basically a mixture of various species and they are a lot bigger than real rhinos and also albinos.
They sculpted them in ZBrush, textured them in Maya, and rendered them with V-Ray.
Once they had a signoff on the style of rhino, they built variations, some with scars, others with horns broken off, and other texture variations, all based on their first initial sculpt.
For the rigging, Iloura has a robust quadruped rig that they modified for the rhinos.
The gallop was a real challenge because real rhinos don’t run much and when they do they can only run around 65 kilometers an hour.
The Jumanji Rhins were double the size and could run about 120. But that’s still slower than the stalling speed of the helicopter they were supposed to be gaining on.
So they had to find a balance of speed while maintaining their weight.
Too fast and they looked weightless, too bouncy and they looked like a herd of chihuahuas. They put a lot of time into the run cycle and working on the musculature and the flabbiness of their rhino's skin, because at speed it jiggled around far too much if they weren’t careful and became comical. In the end, the audience needed to feel the jiggle, more than see it.
Once they had the basic gallop addressed, they introduced different characteristics to each of their paths, like slipping on stones, smashing tree stumps, pushing aside boulders or just colliding with one another.
Each shot had to tell a slightly different story so the run itself didn’t appear repetitive.
This was harder than you might think, because the rhinos are interacting with uneven terrain made of millions of boulders, rocks, pebbles, and debris and the animators needed to know exactly where the ground was at all times.
However, it was impossible for them to have such a detailed environment loaded into their animation scenes so they put the rhinos into low-resolution versions of the sets in order to give the animators relatively smooth playback in their scenes. It was necessary for us to have a lower poly version of the terrain, loading only what was needed (leaving out the distant elements) for the animators to work effectively.
For the live-action component, they mounted a full-scale Huey UH-1B on a six-axis motion base.
They ended up spending 4 days filming on the soundstage, because when you have five actors in a scene together you need quite a lot of photographic coverage.
This also meant that the lighting needed to be flexible and not shot-specific.
Gyula Pados created a generic lighting scheme where the helicopter would seem to move through intermittent shadows with occasional passes of high-exposure sunlight.
Although the Rhino sequence was the simplest to photograph (basically just 5 actors on gimbal-mounted Huey on a green screen stage in Atlanta). The post-production process for the sequence was the most intensive due to the challenge of matching the CG lighting to the stage lighting.
In the end, it took Iloura 6 months to finish the sequence which was over 200 shots involving a CG Huey with 5 digital doubles, and a vast CG canyon complete with rampaging digital Rhinos.
MPC's work involved creating jungle animals, digital doubles for Spencer, Martha and Fridge, and CG environments for the film’s finale.
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