How They Made Ghostbusters Great Again

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Dubbed as a "Love Letter" to the classic, the original 1984 Ghostbusters.
Afterlife attempted to capture the magic of the original movie and also bring it all into the 21st century
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In order to do this, rather than concentrate on making things look modern and hyperrealistic, they had to concentrate on making sure they didn't.
The Proton Beam was something DNEG started working on early on when they had just begun principal photography.
On the camera test day, they had McKenna in the full Ghostbuster outfit and with the proton pack and they did some tests adding interactive lighting on set.
They started with something that was really similar to the 1984 version, including the colors, but after looking at the shot over and over they agreed that going toward something more advanced was a better choice.
So instead of the original big, stronger core beam and the other one overlapping, now there are actually millions of particles that give that final look and extra noise added on top of it. This gave the proton beam a modern look that at its heart still feels like the original.
All the ghosts started out as physical puppets built by Arjen Tuiten and his team.
They hand-sculped a very accurate replica of the Terror Dog from the original movie using nearly 300 kilos of clay.
They then used this as a mold for the foam latex "Skin" that would cover their animatronic puppet.
This puppet they used for close-ups and shots where they didn't have to show its whole body or show it moving excessively.
Then the VFX teams 3D scanned the Animatronic puppet and modeled their CG dog to look exactly like it.
The CG Terror dog was used in the full-body shots and in sequences where it had to run and jump.
In order to animate it they used a bull's behavior as a reference but also attempted to mimic the stop-motion animation look of the original movie.
There are other Ghost effects in the movie that were completely practical, like the Miner Ghost in the diner and even the scene where Ivo Shandor gets ripped in two.
Surprisingly enough, they actually built a puppet of J.K. Simmons and the entire effect was achieved practically.
with the dummy requiring only mild paintwork to hide the pre-rip seam on the clothing. Gozer too was based on the 1984 version.
And even though makeup took 5-1/2 hours to apply and consisted of various prosthetics, hair work, lenses, and a suit, in the end, the dynamics and lighting they had to add to give Gozer a powerful and menacing presence on set meant that a fully digital suit was preferred.
So Gozer from the neck down was CGI. This also allowed for a more surreal appearance as the team could lengthen her limbs. And while the team remained faithful to the performance, the composited face was often placed higher in the shot, and the leg and arms lengthened. As you can see here they slightly elongated her waist, arms, and legs, and made the body details a bit more translucent enhancing it all with bursts of energy traveling through her body.
But the most rewarding effect in Afterlife was also perhaps the most important, the most complex, and the most touching.
Harold Ramis who played Egon Spengler in the original Ghostbusters movie had sadly passed away 7 years before Afterlife was released but this "Love Letter" to the original could not be written without him.
One of the main problems was that the VFX teams didn't have any data for Harold, no life cast, no body scans, and no possibility of getting them.
Because we didn’t have any tangible data to start with, they decided the best approach was to first build a Digital Remis as he appeared in the 84 movie.
So they did high-res digital scans of the negatives of the original film and using single frames they built an exact replica of Remis, with a full set of expressions. Then they comped him in a shot of the 84 movie with Dan Aykroyd as a test to prove they had a near-perfect base before they began the aging process.
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