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Here’s How This Self-Taught VFX Artist and Filmmaker Turned His Daughter Into a Sci-Fi Star

Here's How This Self-Taught VFX Artist and Filmmaker Turned His Daughter Into a Sci-Fi Star

Home movies of kids can be notoriously difficult to watch unless the kids are yours. But we were so charmed by this dad’s video, which uses special effects to turn his toddler daughter into a super hero of sorts, we reached out to him to find out how he created the visual effects.

As you can see in the video above, filmmaker Kyle Roberts gave his daughter super powers: when she blows bubbles, streams of fire shoot out of her, her jumps take on superhero proportions.

The self-taught VFX artist and filmmaker said he used the Adobe CC 2015 suite and mainly Premiere and After Effects. He explained the process more to us in an e-mail:

“Been playing around with stop motion animation motion graphics and VFX work for some time, but really started getting engulfed with it making my first feature film ‘The Posthuman Project,‘ which is an independent teen superhero film… kind of a cross between an ’80s coming- -of-age John Hughes film and, of course, superheroes! The film was my directorial debut and I also did a majority of the 530 shots we needed for VFX.”

READ MORE: Watch: This GoPro Video of The Grand Canyon is Amazing

As for the videos with his daughter, Roberts said that “so far none of them have been planned…it’s straight-up from ‘home movie’ footage that I look at and sometimes get inspiration on what we can do with some VFX treatment.”

The sequence of his daughter in the prop plane was shot at the Science Museum Oklahoma in Oklahoma City.

He explained, “I sat her down in this prop plane and really loved seeing the joy in her eyes as she was pushing buttons, pulling levers. Then quickly looked around and thought…I bet I can take a series of shots here and make something out of this. So I probably spent 10 minutes getting a few shots with a canon 7D MK II, then sat my iPhone on the ground and got the wide shot that ends up being her taking off. That sequence was probably 40 hours of post work total because I had to completely recreate the background where the plane was. Normally, in a situation like that you would get a background plate (shot) with your subject cleared out…that makes the effect much easier. But that prop wasn’t going anywhere, so… gotta do what you gotta do!”

READ MORE: Watch: Here’s How to Incorporate ‘Serial’-Style Story Telling into Film

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