2 and The Suicide Squad, they a Red V-Raptor in a small, stabilized rig, the Stabileye. While he and Henry were working on their last two films, Vol. It’s changed quite a bit, the way he covers everything. Ceretti notes, “James has become more bold in how he uses the camera. 3, Ceretti and Legacy Effects provided Henry Braham, BSC with gray “stuffy” Rocket dummies.įor the majority of Rocket’s scenes, Gunn focused on his brother in situ. Sean Gunn enacted Rocket’s transition on set, while Noa Raskin, the daughter of editor Fred Raskin, supplied the baby raccoon’s first utterance: “Hurrrrts.”įor wide shots featuring young Rocket beside his captor, the High Evolutionary (Chukwudi Iwuji), Sean Gunn voiced off-camera lines and Framestore used keyframe animation to create the raccoon’s teetering gait.įor reference on Vol. The horrific procedures were designed to enhance not only his mental capacity, but also his biped gait, via metal structures built around his legs, clavicle and torso. 3 opens with a flashback which reveals that Rocket was a victim of medical experiments as a newborn. So, we backed away from making him too human.” But if they showed too much white the eyes, he looked more like an animated character. “In the first film, the areas around Rocket’s eyes were black, and it was harder to read his expressions. “James and I looked at turntables of Rocket from all the films,” Ceretti says. Rocket as seen in Guardians of the Galaxy Vol. Rocket (and Groot) as seen in Guardians of the Galaxy Vol. Rocket (and Groot) as seen in Guardians of the Galaxy (2014, Marvel Studios) 3, Ceretti and Framestore rebuilt Rocket again. 2, Marvel VFX supervisor Christopher Townsend gave Rocket a makeover, adding detail to the character’s fur and anatomy. I often went back to the stuffy footage as reference.”įor Vol. “Having the character in costume lit in the right environment is so valuable. “We also had a gray stuffy Rocket without fur for actors to hold, and for the director of photography to use in lighting,” he continues. 3, using a stuffy created by Legacy Effects, and costume designer Judianna Makovsky built Rocket’s costumes. “We always used stuffies as lighting references,” says Ceretti. 1 prosthetic-effects designer David White built “stuffy” dummies, which costume designer Alexandra Byrne outfitted with Rocket costumes. Gunn’s plan was to make Rocket a CG-animated character and use a stand-in - his brother, actor Sean Gunn - to deliver the performance on set.įor tactile creature interactions, Vol. We did posture tests in a pre-shoot test to cast our visual-effects vendors.” “James always thought Rocket would be a little hunched.

The concepts were close to what James Gunn wanted,” recalls visual-effects supervisor Stéphane Ceretti, who collaborated with visual-effects producer Susan Pickett on Vol. Discussions on how to make the character realistic and relatable began with Marvel “Vis Dev” conceptual art by Charlie Wen. 1, with Framestore in London leading the initiative on Rocket. Nearly a dozen effects facilities provided VFX on Vol.

Rocket raccoon actor