Journey 2 VFX BREAKDOWN

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Journey 2: The Mysterious Island is a 2012 American science fantasy action-adventure film, sequel to the 2008 movie Journey to the Center of the Earth, and (like its predecessor) based on the Jules Verne novel of the same name.
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Although the novel states that the creatures on the island were unusually large, the incorporation of gigantic creatures originated from Ray Harryhausen's 1961 version of the film.
MPC had an in-house iguana they studied for textures and movement. It was clear that the musculature they needed to support this 15-tonne lizard would have to be quite large so they started with the muscles and then figured out the flexing and the skin on top of that.
The film features several scenes where digi-doubles were necessary to complete dynamic shots.
Lightstage LLC recorded the actors’ facial expressions at the level of pore detail, all facial and full body data, lighting, and textures were captured in just a few hours.
For the sequence where the heroes are riding giant bees being chased by birds, Rising Sun Pictures augmented aerial footage from the location shoot in Kauai with a 3-D virtual jungle they created.
For the Bees, On location, the production team shot background ground and aerial plates based on The Third Floor’s previs.
A later shoot in North Carolina incorporated the actors on Bee Bucks shot against a greenscreen.
Even though principal photography was mainly shot in Hawaii.
Due to the way the actors had to interact with these enormous creatures and how the creatures themselves had to interact with the environment around them, a lot of the jungle foliage had to be digitally replaced or augmented.
Journey 2 is a kids’ movie so the studio wanted to follow its predecessor, Journey To The Center Of The Earth, and make it a 3-D movie.
However, shooting in stereo meant the entire film and its sequences had to be conceived that way.
One interesting thing they found out was that you need a minimum of 15 frames for your brain to understand a 3D image and more like 18 frames in order to properly register it.
To accommodate this, the edits and camera moves were slowed down and the depth of the 3D image was flattened out in some sequences to make it a little easier for the brain to read.
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