![]() Throughout the series, viewers see a field hat, which was built practically with visual effects adding the robotic arm on top a set extension was created for the interior of the field hat. In Episode 4, in addition to CG hatches, the artists added the tech addition to Mercer Center founder Russ’s house. “Any time you see snow outside in the pilot, we did either snow cleanup or snow extensions.” We also did a full sky replacement for the night sky when we tilt up in the final shot of the pilot,” says Knoll. “We shot on a stage in Winnipeg, so any time you see the outside environment from Loretta’s house or the tavern, those are blue/greenscreen window comps. In the pilot episode, we see a young version of the brilliant physicist Loretta, whose house is fully CG house, as is the frozen lake in the episode. There’s also the cooling towers, vane turbines, and numerous hatches in Episode 4, as well as a CG transmission apparatus featured in Episode 2. Among the most notable in terms of the CG sets are the Loop entrance aboveground and the Eclipse, the center of the Loop, underground, as well as the underground tunnels within the Loop. Some of the visual effects are immediately apparent, most of all the robots and other litter from past experiments. The remaining number were scattered across the other episodes. Episode 1 contained the most, with 300 shots, while the last episode, followed with close to 200 VFX shots. Knoll estimates that there were approximately 1,300 VFX shots across the series’ eight episodes. Ultimately, we wanted every image you see on screen to feel like a painting.” “So, we wanted to keep all the images poignant, but maintain a sense of subtlety in the visual effects so they were supporting the stories. “The visual effects are there to curate the story, as this show is about the personal stories of the people living in the town and interacting with the Loop,” says Knoll. ![]() In addition, MPC did significant work for Episodes 1, 6, and 8, including set extensions, while Bot VFX worked on Episodes 6, 7, and 8. It is up to Knoll and the team of artists and animators at Rodeo FX, the series’ primary vendor, to create the digital artwork used throughout the Tales from the Loop episodes, creating and animating the robots and other CG assets. So while there are these unique, magnificent sci-fi structures and elements all around these characters in this town, they don’t overtake the story.” It was important to preserve the feeling that’s present in his book. So, to be faithful to his artwork, we kept the structures and robots identical to what he had created. Not just the style and look, but the feel as well. “Overall, for every department, including VFX, our main objective was to stay true to Simon Stålenhag’s work. “The intention of the effects is to be photorealistic and seamless, whether we did full-CG work, CG enhancements, or set extensions,” says Andrea Knoll, VFX producer. ![]() Tales from the Loop is also about life imitating art: The series was inspired by the artistic paintings of Simon Stålenhag, which seamlessly blend retro-futuristic imagery into countryside or historical settings. Each episode is a character-driven story relating to a resident’s encounters with these strange objects, which have power of time, space, perception, emotion, and memory. Their experiences with the Loop play out in the sci-fi anthology series Tales from the Loop, which dropped in April on Amazon Prime Video. Here, things previously relegated to science fiction become possible, as the townspeople of Mercer experience an altered version of reality. But here, among this pastoral American scenery, discarded alien-like objects and abandoned robots dot the landscape – artifacts from past physics experiments conducted at “the Loop.” These strange objects are not out of place for those living in Mercer, which is built atop the Mercer Center for Experimental Physics, or the Loop. Farm houses sit on the edge of grassy fields. The small town of Mercer, Ohio, appears to be like any other found across the US.
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