Not only is there a "look" that must be crafted for the camera, other major factors come into play. Foremost of them all is talent and camera safety. Both of these departments will be working closely with a large, moving rig.

Mentioning talent as a "department" means we must figure for access of all the departments that serve the talent. Hair, make up, assistant directors, stand ins and of course, the actual talent.

Camera department will have it's own rigs to actuate alone, or in conjunction with the whale's movement. The logistics of this department alone can be daunting. We will have several assistants, loaders, video assist, operator(s), et al.

Adding to the confusion are the underwater "puppeteers" that will perform the huge cetacean. A variety of motion bases were considered for this project. These cannot work for a variety of reasons. First, most are assembled at location (empty tank), and operate hydraulically.

My experience with water-based hydraulics reflects a big note on caution. The hydraulic alligator built for "Lake Placid" developed a small leak during filming at Falls Lake, Universal Studios. The mess took one full week to be scraped off the walls of that pool. That event also stopped filming on the day, and for the ensuing days.

Additionally, the moves are distinctly mechanical. There is a "theme park" feel to the look. This movie (Latta) would not benefit from that, in my opinion.

Then we looked at an amazing, new overhead cable system developed by a top effects rigger. This system demands a full stage for rigging above the character.

The size of this creature, plus the desired performance aspects, demands an underwater solution. We will use buoyancy and ballast to move the creature.

BODY: The water itself will move the creature, controlled by block & tackle from below. By adding air to the sealed air bags inside the whale, it will rise. Large compressors able to deliver maximum cfm (cubic feet per minute) will be used. This compressor may be truck mounted and able to dump massive air by the pull of a gate valve.

This system will able to offer a variety of ascent speeds with no moving parts below or above. Many types of mechanical, moving elevator rigs can pose danger to operators working nearby.

Animal Makers will generally look to the actual animal's methods of movement, and attempt to mimic those. Reading about these magnificent beasts reflects a variety of methods of locomotion, and ballast issues. The massive Blue whale will open it's mouth and collect enough fish to fill a large school bus. This causes massive drag in the water and can cause the beast to sink.

The body will be sewn in a variety of fabrics to emulate the requested "dolphin" skin. The entire body will be an air bag with boning for shaping (similar to an umbrella with it's star shaped supports), with a final covering of silky fabric. The talent will love that, also.

The tail will be fabricated over a simple lever that will be actuated pneumatically. This is another use for the large compressors and tanks that will be enlisted on this project. There needs to be flex in the flukes to allow water to roll off realistically.

The base will be set (again with lead weights) to camera on the day. There will be a crane to drop and move these large items. It is important to be able to adjust these two elements to taste on the shooting days.

This is a massive project that would also have a huge publicity value. We recommend covering the development of this rig with a simple video tech. The (co-branded) edit would be hit millions of times on the web.

Thanks for your patience and support in creating an effect that will be a "talking point" for all of careers for years to come.

Sincerely,

Jim Boulden
President, Creative Director
Animal Makers, Inc.