Unveiling the Marvels of Virgo VFX: Epic Tales, Exhilarating Puppets, and Boots Riley's Wild Show

Summary

Boots Riley's I'm A Virgo is a surreal dramedy about a 13-foot-tall Black man venturing into the real world, exploring highs and lows.

The show maintains the exceptional anti-capitalism satire of Sorry to Bother You while creating a captivating new world for future exploration. The skilled on-set visual effects team diligently combined practical and digital effects to ensure a realistic and grounded feel to the show.

Boots Riley continues his streak of creative success with I'm A Virgo on Prime Video. This surreal dramedy follows the journey of a 13-foot-tall Black man who decides to step outside the sheltered life his aunt and uncle provided him, exposing him to the realities and extremes of the real world.

Leading the ensemble cast of I'm a Virgo is Jharrel Jerome, joined by talented actors such as Brett Gray, Kara Young, Allius Barnes, Olivia Washington, Mike Epps, Walton Goggins, and Carmen Ejogo. With even greater acclaim than his debut film Sorry to Bother You, the show maintains the brilliant anti-capitalism satire while expanding into a new world ripe for future exploration.

Jamie Barty Discusses I'm A Virgo

Screen Rant: Familiar with mind-blowing visual spectacles on screen, such as Doctor Strange, Timeless, and Legion, you must have had encounters with captivating effects. How did Boots and his team approach you to join I'm a Virgo, and what piqued your fascination for the show?

Jamie Barty: Todd Perry approached us when he was assigned to the show, as he has a strong connection with FuseFX's studio head. To assess our capacity, I reviewed all the episodes in advance and determined which parts would require digital work and which could be accomplished practically. The script caught my interest immediately because it offered a unique experience unlike anything I had done before. Additionally, Boots' involvement in the show intrigued me, especially considering their previous project. Their style is truly distinctive and you can sense their creative touch throughout. The fact that Boots both wrote and directed the show further added to its appeal for me.

Boots consistently astounds me with their visionary approach, particularly when it comes to incorporating fantastical visual effects. Despite the technical aspects involved, their work always possesses a sense of practicality and do-it-yourself flair. I am curious to know whether you perceive this kind of vision as making your job easier or more challenging.

Jamie Barty: The extensive pre-production planning has made certain aspects of the project smoother. Some shows heavily rely on visual effects, adopting a mindset of "we'll fix it in post." However, Boots had a different vision, which was also shared by the on-set visual effects team. They put in a lot of effort before shooting began. Consequently, it is easier in some ways because this planning allowed for more in-camera effects. However, it also added complexity for the on-set team in having to accommodate this planning from the start. Our approach was to defy expectations. There are certain shots that may appear or feel digital but are actually practical effects, which surprises people. A notable example is the scene where Cootie is on stage conversing with Felix. Cootie recalls a memory, and a thought bubble emerges from his head. Many assume that it would be easily achieved through VFX, just motion graphics and fully digital. However, that was not the case. We took a different route. We actually printed out 300 frames, taped the sequence, and digitally stylized it. We then physically crumpled each frame of the speech bubble, photographing it in the process. We repeated the crumpling and photographing several times, resulting in a stop-motion effect. Despite the fact that it would have been faster to do it digitally, we opted for this meticulous method to maintain the principle of capturing as much in-camera as possible. This approach is evident throughout the entire show, as we strive to do things differently. Although it may have taken a bit longer, everyone was fully committed to preserving a realistic and grounded feel. It was fantastic that they supported our decision to do so.

Jamie Barty had the opportunity to be on set for a few days for a project involving forced perspective filmmaking. The process was incredible, with perfect miniature sets that looked amazing on camera. The on-set team had to build all the sets twice, which was mind-boggling. In addition to the sets, there were digital and physical versions of every character, including a thirteen-foot tall puppet of Cootie for blocking scenes. Miniature versions of the characters were also created, allowing for accurate interactions and eyelines. The level of detail put into the work by the on-set teams was truly unreal.

Did you have the chance to spend much time on set for this project? If so, how do you feel that contributed to your collaborative process with Boots?

Jamie Barty: Although I didn't have a significant amount of time on set, I did have the opportunity to be there for a few days and witness the process. They were eager for me to be on set so that I could meet the team, observe the production, and connect with Boots. Initially, most of the filming took place in New Orleans. They had planned to fly me out there, but unfortunately, I contracted COVID the day before and couldn't travel. Nonetheless, they were determined to have me on set, so I ended up going to Oakland instead, which turned out to be even better. The show is set in Oakland, and Boots is from there, so I got to experience the authentic location where the story unfolds.

Which sequence do you consider to be one of the most difficult ones to assemble? Did the difficulty arise from practical challenges during filming or from trying to align with Boots' vision for the scene?

The sideshow scene presented a significant challenge due to the high number of VFX shots it required. It was a lengthy process to achieve the desired result for the final cut. As this scene was in episode one, we were still in the process of establishing the show's visual style and ensuring it aligned with Boots' vision. Boots has a distinctive style, and he wanted the VFX to blend seamlessly with the rest of the show's world, avoiding a perfectly polished appearance. Interestingly, despite being the first sequence we tackled in this project, it was one of the last ones to be completed, even as we worked on episodes 5, 6, and 7. The complexity of this scene contributed to its prolonged production time. The scene involved a digital ground with digital wheels, alongside all the characters being represented as digital doubles. We digitized the spinning tires, the smoke emanating from them, and created a digital environment with digital lights and buildings. The only non-digital element was Cootie, who was physically hanging onto the car. It was our aim to faithfully translate Boots' vision into reality. Initially, practical methods were explored, including using a miniature car with Jharrel physically hanging onto it. The car was rigged to spin as he performed burn-outs. However, due to the necessity for digital replacements, much of the in-camera footage had to be discarded. We worked diligently to ensure the scene aligned with Boots' vision as it carried significant energy and served as a pivotal moment in the episode. It is the scene where Cootie begins to emerge from his shell and forms connections with those around him, realizing not everyone dislikes him for being different.

As for the haunting shot of something forming out of Cootie's rash at the end of the show, I was involved in that particular shot. Putting it together involved discussions with Boots regarding its deeper meaning.

Jamie Barty: Although I wasn't directly involved in capturing that shot, I am genuinely curious about its significance. It's undeniably a striking image, showcasing a rather impressive rash. I genuinely wish I had more information about it, but I haven't had a chance to discuss it with Boots.