And then we take Stuffy away and most of the time they would hit it. That attention to detail is pretty important.īlair Clark: A lot of times during the Stuffy pass, you’ll be telling the actors, “Try looking at his nose. It’s all about making the main character feel and be real. So, that methodology was brought into Ted. If the eyelines are off, it breaks the illusion of the conversation. Tom Costantino: Seth was very serious about eyelines on The Orville, especially on the bridge, because we had eleven people all talking to each other. Ted is about a teddy bear that magically comes to life after a child wishes for it on a shooting star. MF: So what you’re saying is a good first assistant can do a lot of different things? So, if we needed to paint a boom mic out at the last minute, that was me. I came up with a VFX background on some Netflix and other NBC shows. Justin Ulrich: A lot of in-house opticals. Justin Ulrich: Yeah, I’m the in-house visual effects… I don’t know. So, three years with this guy.īlair Clark: And he’s our visual effects secret weapon. I think we had a week overlap and no downtime. I just followed Tom onto Ted from The Orville directly. Justin Ulrich: I’m the first assistant editor on Ted. And last but not least, first assistant Justin, tell us all about your role in the show and how you got the gig. They knew the trouble they’d get into, so they figured, “Well, we know how to deal with him.” Ted VFX Supervisor Blair Clark puppeteering a Stuffy Ted on the set of Ted 2. I got the gig because I was the visual effects supervisor on both features and Seth MacFarlane’s Western, A Million Ways to Die in the West. Tell me about what you do on the series and how you got the gig.īlair Clark: I am the visual effects supervisor on the Ted series. Blair, I thought we should start with you, since you came from the feature film Ted. I think the most appropriate way to begin things today is to talk about everyone’s role in the show. Matt Feury: We are blessed to have a big and diverse crew with us today. Being a contortionist on set and in the cutting room. Chrome balls, laser pointers and the trouble with eyelines.In our discussion with the VFX and editing team from the series Ted, we talk about: Ted is soon forced to attend school with John, getting him bullied and in all sorts of trouble. In addition to John and Ted, the Bennett household includes John’s father Matty, his mother Susan, and his cousin, Blaire, who is living with them while attending a college nearby. Set in 1993, in between the opening sequence in the feature film, Ted (2012), the series depicts the early life of a sentient teddy bear toy named Ted as he lives with John Bennett and his family in Framingham, Massachusetts. Newcomer Allie Mitchell was not only taking her first tour of duty with Seth, but she was also learning VFX and puppeteering on the job, relying on her background in dance and theater. Together, the four brought a feature-level quality to Ted’s reintroduction on the small screen. Editor Tom Costantino, ACE and assistant editor Justin Ulrich had already been across the universe with MacFarlane for his cult sci-fi favorite, The Orville, and VFX and puppeteering vet Blair Clark was the guy behind the bear for the Ted feature films, as well as VFX supervisor for Seth’s A Million Ways to Die in the West (2014). Most of the VFX and editing team from Seth MacFarlane’s Peacock original series Ted should have known what they were in for when they signed on for the show.
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