Producer Joel Silver and director John McTiernan on the set. Sort of like blue screen in reverse, where your subject is the screen and the foreground is actually the background. We tried everything we could think of by pulling mattes off of that red suit. I guess that’s where the light bulb went off of, ‘Okay, we’ll put a guy in a red suit and we’ll run around in the jungle because the jungle’s green and the sky’s blue,’ and so we tried it. We just tried all kinds of things, and we had done a commercial for Southern Bell where where we had a person in a red suit and they were holding a green orb against the blue screen. At the time we looked at it as, ‘Okay, this is something where it has to be invisible but yet also visible.’ He thought that we would be a good fit to try and do the camouflage effect for Predator. We had a good relationship with producer Joel Silver having done Xanadu with him, doing live action streaks on an optical printer for that film. Joel Hynek: I was head of the optical department at R/Greenberg Associates. Vfxblog: Can we set the scene – what were you doing at the time you began working on Predator?
In this interview, Hynek details the optical compositing tests that led to the eventual camouflage effect, the ill-fated red-suit-in-the-jungle approach to obtaining plates, and the almost ill-fated attempt at using a thermal camera for the Predator POV shots. Greenberg, Richard Greenberg and Stan Winston). These included a distinctive camouflage effect wielded by the alien Predator creature (appearing also in a monster suit designed and built by Stan Winston Studio), a heat vision-inspired Predator POV look, and several other optical effects.ĭespite the challenging nature of the shots, and the challenging jungle shoot, the work culminated in an Academy Award nomination for Best Visual Effects (the nominees were Joel Hynek, Robert M. John McTiernan’s Predator is perhaps most fondly remembered for Arnold Schwarzenegger’s line, ‘Get to the chopper!’ But it also featured some incredibly memorable optical effects, crafted by R/Greenberg Associates and overseen by visual effects supervisor Joel Hynek.
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