Here
Here, directed by Robert Zemeckis and written by Eric Roth and Zemeckis, is based on the graphic novel by Richard McGuire. The film stars Tom Hanks and Robin Wright, reuniting them with Zemeckis for the first time in thirty years since Forrest Gump and was released November 2024.
I worked on the film at DNEG as a CG Supervisor starting in early pre-production alongside VFX Supervisor, Johnny Gibson. During production I supervised Unit 1, which included the most challenging 50 of the 200 total shots. Many of these shots were over 20 seconds in length and involved complex 3D transitions and full CG environments. This work was done alongside a 2D supervisor, production team and department supervisors. I also helped manage 120 assets alongside a build supervisor. There were 1000 artists on the show over the 12-month period, with approx 250 based in London.
The film moves through multiple time periods, with de-ageing of the lead characters achieved by the team at Metaphysic. In an industry first, their on-set system, Metaphysic Live, produced high-resolution, photorealistic de-ageing effects layered onto the actors’ performances live and in real time. These de-aged plates were then provided to DNEG.
I worked on one of the film’s most challenging sequences: a single, very long shot that shows the world changing over time, from a meteor impact and dinosaurs through freezing, thawing, and the growth of new life. Because the camera never moves, the sense of time passing had to come entirely from what changed within the frame. Every element was connected, so even small adjustments had an effect on the rest of the shot. To manage this, the sequence was carefully planned and broken into sections. It was a huge undertaking with its own dedicated team, and the final result, pictured above, was very impressive.
The film ends with a major VFX shot that breaks the established language of the movie. It is the first and only moving camera shot, swinging around Tom Hanks and Robin Wright before pulling out through a window into a fully CG neighbourhood. The environment, vehicles and characters, all had to be completely photoreal, with lighting and camera angles that left no room to hide. Much of the interior set also became entirely digital to support the camera move. As CG Supervisor, I managed the planning, team, communication, and execution of the shot, ensuring it delivered the level of quality needed to close the film in a memorable way.
