So, Dragon Age: Redemption is starting to get pretty intense, huh!?! Episode three brings us lots of action, and finally a clue as to what Saarebas is up to...
Photo 2: There was a lot of back and forth in regard to how big the reaver's weapon should be, and I believed the bigger the better! The game asset we chose from the BioWare chart looked mean, but I wanted it to strike fear in people's hearts just sitting on Nyree's shoulder. We went pretty large, ultimately, but Marcia Battise make it look natural to weild, which made the weapon and warrior combo even that more impossing.
Photo 3: And once inside the cave, we finally get to see Doug Jones in costume designer Shawna Trpic's final ceremonial Saarebas armor. Here he is during the last fitting before the shoot started. Doug is the nicest guy you will ever meet in Hollywood. That whole evil hands thing is just an act!
Photo 5: And yes, Felicia Day once again wore mismatched socks to the fitting!
Photo 13: To procure that blood, the wicked mage uses a ceremonial dagger. There were once again many choices on BioWare's Dragon Age II weapons chart, but the second we saw the shark jaw bone sword, I knew I had to shrink it down to be the mage's blade.
Photo 14: Despite the fact that Marissa watched me the entire time I sculpted and molded the dagger, I don't think it sunk in until she held the multiple urethane castings in her had. If I'm reading this photo right, she's saying, "Really!?!? I get sliced with this!?!?"
Photo 15: Saarebas uses the blood to awaken the magic contained within the sacred Mask of Fen'Harel, the dread wolf.
Photo 18: We were on a very tight schedule, only having just over a month to manufature hundreds of props, and I wasn't quite sure were I was going with the mask. Instead of figuring it out in sketches, which would only be an idea, I jumped right into clay and started exploring shapes and expressions. Once I felt like I was onto something, I sent the images you see above to Felicia and production for feedback.
Photo 19: When everyone signed off on my rough sculpt, I spent a few days refining it, then carving in the Dalsih patterns and runes.
Photo 20: The sculpture was molded in an open faced silicone mold, and then a 1630 urethane brush-up was done. The final mask needed to be two pieces, the face and the jaw, and we needed multiple copies of each. So this first casting was a preliminary step. Here, I explain to Art Director Bryan Fulk how to divide the mask and finish of the back surface.
Photo 23: Here are the two components of the mask. The lower half was never meant to be seen on its own, as it magically grows from the mask during the ceremony. You can see the registration areas that lock into the upper half.
Photo 24: Here is the completed mask. The jeweled eyes appear after the mask is run with virgin blood upon the altar dog...
Photo 27: I did a quick sketch of the altar, and it was carved out of foam. Digger Mesch did the dog, and Joanne Gross helmed the set piece. We didn't have the budget for giant blocks of foam like we usually use on studio movies, so mutiple layers were fused together with spray insulation to get the thicknesses we needed. For all the stryofoam people throw away on a daily basis, you would think the stuff was cheap. But large blocks of foam run in the thousands of dollars!
Photo 28: The finished carving was coated in a layer of spackle, then a base coat of house paint was applied. The set piece was sceniced with a combonation of washes, dry-brushing, and splattering to give a stone effect. For large pieces like this, I use a hudson sprayer with thinned down house paint. If you open the nozzel all the way, it sputters and creates a realistic granite effect.
Photo 29: Fen'Heral keeps an eye on the cast and crew in the cave. Which is actually the Bat Cave!
Photo 33: The beginning of the extended altar. The "plug" needed to be built in sections so the individual pieces could be transported to the cave.
Photo 34: The altar was assembled in place, and the cave plug walls are being brought in. It took several days at the loctaion to get everything together and blended into the surrounding rock.