We made the babies breathe by animating the chests and necks using grid warp tools. “For some shots, we dramatically improved realism by applying 2D animation onto the plate. “Because they didn’t move, they sometimes looked like stillborn babies,” Gaddie says. The prosthetic babies looked incredibly real. We also added fat simulations on the wounds because the movement of the fat layer was a crucial element in our reference and was absent in the plates. When the belies were sliced open we created blood sims and used geometry nodes in Blender to simulate opening flesh and skin. This included the blood and yellow iodine around the cuts. We then added surgical elements for all the C-section footage. We added photographic elements from actual pregnant bellies to the prosthetic bellies that included all the skin detail, stretch marks and bruising that made the final shots feel so real. We ended up re-texturing every prosthetic to more closely match the visual reference we collected. Skin, fat and muscle move differently to silicon, especially when cut. We started by fixing all these issues and making the prosthetics move naturally. For example, a prosthetic vagina designed for birthing a baby still had a huge rigid opening after the baby was delivered. “The main problem with the prosthetics was that they looked great in still moments, but didn’t hold up in motion and couldn’t work for entire shots. “The births were all filmed with very elaborate prosthetics that got very close to realism most of the time,” Gaddie details. The birthing sequences presented a great case for the perfect marriage of in-camera SFX with visual effects.
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