With effects work on 38 films to his credit, you’d be hard-pressed to find a more seasoned effects man than Scott Farrar. After accepting an invitation to the set of “Star Wars,” Farrar saw the first motion control system in action. Inspired, he embarked on a career that would see him work on some of the most groundbreaking effects films in history.
Five times nominated for an Academy Award (he won in 1986 for his work on “Cocoon”), his resume also includes work on “Return of the Jedi” “”Star Trek: The Motion Picture” and its sequel, “The Wrath of Khan,” “Who Framed Roger Rabbit,” “Jurassic Park,” “Men in Black,” “Minority Report,” “Deep Impact,” and “Star Wars: Episode I.”
As Visual Effects Supervisor on both “Transformers” films, Farrar continues to work on the cutting edge of visual effects. I caught up with him to discuss his work, how effects have changed over the years, and working with Michael Bay.
JS: Let’s start off by talking about the improvements over the first film.
SF: Sure. You’ll see in this film there are a lot of refinements. The robots look better, the details are better. We tried to move further into a more realistic style of lighting this time. If you know effects, you know the lighting is hard to do with something like robots, especially these that have a lot of refined surfaces. The action is better too, and we learned quite from the last film about what to do and what not to do. As you know, there are a lot of sequences shot on IMAX cameras, where the resolution is eight times larger than a normal camera. The sharpness and overall look a lot better. As a result at one point you see a full-sized Optimus Prime. It’s going to be thrilling. IMAX is designed for big sequences like this, and I think we’ve met the challenge and then some.. We’ve really pushed the envelope with this film quite a bit.
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