So there were several shots of the kid and then a couple of reverses of the woman trying to take the curse off of him.įxg: What was the other main sequence you worked on? It was basically taking this grand hall that the kid was in, cracking the earth as he is pulled down to Hell, while this gypsy woman watches. We had to do some work internally for our Lamia shots, using shaders. That was actually a shared model with other facilities that was given to us. In one shot, which didn’t actually appear in the picture, there was a demon – this creature called the Lamia which resembled a goat and had a Hag’s head. We had to add light rays, smoke, embers and fire. Hell starts to open up and the earth cracks. Most of that work was doing augmentations to the set. One was the opening sequence of the little boy who has been cursed and is dragged into Hell. ![]() Tippett worked on two major sequences in the film. MJ: Tom Schelesny and I were the visual effects supervisors for Tippett Studio on the project. ![]() This story contains Spoilers.įxg: Can you give me an overview of your work for the Hell shots? Visual effects supervisor Matt Jacobs gives Ian Failes a run-down of Tippett’s work for the film. ![]() For the Hell sequences in Sam Raimi’s Drag Me To Hell, Tippett Studio augmented miniature photography with various digital elements.
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