What The Last Of Us Looks Like Without Special Effects

The television series ‘The Last of Us’ presents an aesthetically captivating portrayal of a post-apocalyptic landscape inhabited by chilling fungal zombies. Gaming enthusiasts will appreciate the numerous hidden references, but even non-gamers can jump right in and be hooked. It requires a dedicated team to create such a production; otherwise, the show would have a distinctly different appearance on screen as we see it now.

The Last of Us” demonstrates the incredible results when a production skillfully blends practical and digital effects. While there are limits to what can be achieved safely with actors on set, you might be amazed to discover just how much – particularly for the infected characters – is filmed in-camera. It’s fascinating to witness the real-life prosthetics, and it makes the VFX team’s job more straightforward because they have a stronger foundation to work upon instead of creating an entire broken world from the ground up.

On the hit series “The Last of Us,” some leading visual effects studios contributed their expertise, such as DNEG, Important Looking Pirates, and Weta FX. Peeking behind the scenes of this critically acclaimed show offers a glimpse into the actors’ experiences. Despite appearing to witness the devastation of the entire planet, it’s primarily blue screens that they’re usually looking at. Here is what “The Last of Us” appears like without all the visual effects.

Blue screens were used for the cityscapes

Initially, we encounter Joel (Pedro Pascal) in Austin, Texas, in 2003. However, his life takes an unexpected turn as he moves to a remote quarantine zone in Boston, eventually escaping with Ellie (Bella Ramsey) on a nationwide adventure. Navigating through various locations presents a significant challenge, and to add to the complexity, most of the filming wasn’t done within the United States. Instead, the production primarily took place in Alberta, Canada, but great efforts were made to create an illusion that Joel and Ellie traverse across America.

In many cases, the VFX teams would visit real cities and take photos to later reproduce the scenery for the series. As stated by CG supervisor Melaina Mace of DNEG in an interview with Art of VFX, they built several generic ruined buildings that could be utilized from various angles to add depth to our backdrop city. This implies that some minor background images may appear consistent across different cities, so watchful fans might want to look carefully during rewatches, as certain towers might seem too similar.

In a different look, you won’t find identical streets everywhere. Alex Wang, visual effects supervisor for “The Last of Us,” shared with Awards Radar that co-showrunner Craig Mazin aimed for a sense of variation. From a visual effects perspective, each episode was tailored distinctly to ensure the qualities felt unique and individual within each episode. Despite their extensive research, it didn’t always satisfy viewers. For instance, many “The Last of Us” fans were skeptical about the show’s portrayal of Boston landscapes due to a lack of mountainous forests 10 miles west of the city as claimed in the series.

VFX built upon pre-existing cities to show how society decays

In crafting “The Last of Us,” it wasn’t just about faithfully reproducing American cities; instead, it was crucial to depict what these urban landscapes might transform into after two decades of decay. The architecture would be overgrown with moss and covered in vines, while abandoned cars would be camouflaged by vegetation. To achieve this, the VFX team often superimposed signs of damage onto real-world locations.

In one particular scene, Joel, Ellie, and Tess (played by Anna Torv) are seen strolling down what’s meant to depict a Boston street. However, this location is actually part of Edmonton that hasn’t been affected by an apocalypse in reality. To create the post-apocalyptic ambiance without relying on computer-generated imagery (CGI), the visual effects team applied matte painting and camera projection mapping techniques. They added elements such as vines, shattered glass, and various other changes to depict how drastically the world has transformed.

In the VFX video produced by DNEG, you’ll find side-by-side comparisons revealing the city layering technique. It’s fascinating to observe how real-life vehicles engulfed by vegetation were actually part of the set. The VFX specialists meticulously added layers of destruction, even making the pavement appear as if completely taken over by nature. This intricate process for a single shot is not surprising when you consider that “The Last of Us” holds the record for Canada’s largest production ever.

The iconic plank scene used a blue screen and crash mats

Since “The Last of Us” is adapted from a video game series, there are specific scenes that fans anticipate seeing in the new format. One such scene is when Joel sets up a plank for Ellie to cross buildings. This act symbolizes the cooperation required by Joel and Ellie if they’re going to survive their journey. It also offers an aesthetically pleasing perspective, allowing the player to view the ruined Boston cityscape from a unique vantage point. To incorporate this scene into the television show, some of the previously mentioned methods were employed.

In the scene, they set up a large blue backdrop with safety mats below, and from an angled view, they incorporated Boston’s Custom House Tower and the harbor as well. The visual effects team had quite a challenge in building this environment. As Alex Wang explained to Animation World Network, “We actually went to Boston, took LiDAR scans at street level, and drone footage. So when we’re constructing that world, it felt authentic because it was like Boston.” Upon closer inspection, you’ll notice wind effects and various types of plants adding realism to the scene.

In the game versus the show, the primary distinction lies in the timing: The game occurs at night as the sun has set, whereas the show features Ellie taking a walk on the plank during broad daylight around mid-afternoon. It’s uncertain if there was any specific purpose behind this change, but given that visual effects artists would invest considerable effort into replicating Boston, they likely aimed to exhibit it at its most stunning during daytime.

The epic view that Ellie admires is really just a big blue screen

Following their exit from the quarantine zone, Joel and Ellie pause for a moment to admire the Boston skyline. This scene occurs early in the first season, marking one of the initial instances where viewers witness their relationship strengthening, paving the way for the emotional journey ahead. Joel queries Ellie about whether it meets her expectations, to which she replies, “I haven’t made up my mind yet, but I must admit, that view is hard to overlook.

During filming, it’s intriguing to consider that Pedro Pascal and Bella Ramsey seemingly stared at nothing, despite the scenes appearing visually captivating in the show. Instead, they stood before a blue backdrop, using their imagination to picture a breathtaking landscape in front of them. The game served as a reference for them, helping them envision the scenery and how it would influence the development of their characters’ relationship. Remarkably, their acting skills are evident as they managed to evoke emotion from nothing more than their imagination.

The infected were brought to life using a mixture of practical and digital effects

In actuality, it’s best to avoid encountering a character like those from “The Last of Us” in reality. They are people who have been affected by the cordyceps fungus and have gradually transformed into terrifying creatures. However, on the film set, you might have noticed one of them casually enjoying a cup of coffee. Interestingly, the clickers in “The Last of Us” weren’t mostly created using computer-generated imagery (CGI). Instead, practical effects were primarily used to make the infected appear real, so what you see on screen is actually makeup and prosthetics at work.

In the series, there’s no universal method for causing infection; otherwise, all characters would appear identical. It has been 20 years since the initial outbreak, and not everyone became infected at the same pace. Instead, the progression varied, meaning someone newly infected might exhibit just a few tendrils on their forehead, while others could develop into clickers or bloaters over time.

Even though they employed practical effects for the infected characters, it doesn’t necessarily mean that the VFX team could relax their efforts. According to Alex Wang, the amount of VFX work on the infected was not consistent. He explained: “I would say that many of the close-up scenes were a flawless blend between prosthetics and visual effects. My objective was to maintain a high standard because the standard for practical infected characters was so high that the digitally created creatures had to be indistinguishable.” A blend of both styles was probably the optimal choice, allowing actors to work with tangible props on set while still enabling the production team to improve areas as needed later.

The bloater presented a unique challenge for the VFX team

For those newly infected or casual viewers, the required number of prosthetics was relatively manageable, but the bloater significantly escalated the challenge for the special effects team. This is the most advanced stage of a cordyceps infection, where the creature has developed a robust armor-like layer that shields it from most attacks. It makes an appearance during the nail-biting cul-de-sac scene in “The Last of Us” Season 1 Episode 5 — “Endure and Survive.

The individual donning the attire is Adam Basil, a renowned British actor and stunt artist. To fabricate this costume, they made a mold of Basil’s body and used modeling clay as the foundation for the prosthetics. Subsequently, they built an enormous suit using latex and foam rubber, replicating the fungal structures observed on the clickers albeit in an over-the-top manner. The process of constructing the bloater suit took approximately nine to ten weeks. However, in the final version that audiences witness, it’s rarely visible due to extensive editing.

During an interview with Vanity Fair, visual effects artist Barrie Gower shared insights about enhancing the bloater. He mentioned that they obtained a detailed 3D model of Adam by scanning him fully and collaborated with digital studio Weta Digital (now known as Wētā FX) to develop a completely digital bloater for the final scenes. This studio is renowned for crafting some of the most breathtaking special effects in films like “The Lord of the Rings” series.

HBO’s The Last of Us swapped out spores for tendrils

As a gamer, I’ve noticed a significant shift between the “Last of Us” video games and the show in terms of the cordyceps infection mechanism. In the game, the infection spreads through spores that can transform characters, making it essential to wear gas masks for safety. However, in HBO’s “The Last of Us,” they’ve replaced spores with tendrils, allowing infected individuals to latch onto their victims and directly transfer the fungi to them. This is most chilling when an infected “kisses” Tess before she detonates both of them. The tendrils add a thrilling, eerie element to the “Last of Us” universe, and they’ve been primarily created using CGI.

Initially, the creators planned to make the tendrils a practical effect, but instead ended up creating them digitally. This might have surprised viewers due to their lifelike movements, yet behind the scenes, they had developed real tendrils that looked like dental plates inside the infected character’s mouth. These plates were connected with silicone cords, and when the character pulled away, it appeared as if everything was snapping. The advantage of this practical approach would have been the ability to reset it on set each day. However, they eventually opted for a digital solution instead.

That crashing plane was actually a huge light rig

The plane was essentially just a massive light wall that flashed – I should say, we were all advised to look away – because it was the most intense light-emitting device I’ve ever encountered in my life. Just this colossal wall of light.

In the scene, not only was it astonishing to create a plane crash using CGI, but the digital effect had to blend convincingly with the real-world environment. Later in the scene, debris from the crash hits Joel’s truck, causing it to tip over. As described by Alex Wang on Animation World Network, the stunt team strategically placed a wedge under the truck for a controlled bump instead of a full flip. In post-production, I enhanced this with camera shake to give the illusion that the truck was tumbling over. It’s challenging to harmonize camera movements and practical effects when working with something invisible at the time, but fortunately, the talented team behind “The Last of Us” pulled it off effortlessly.

The giraffe was (mostly) real

In the post-apocalyptic world portrayed in “The Last of Us,” giraffes symbolize the enduring beauty and vitality of nature amidst human struggles. Despite humanity’s setbacks, life continues to persist on Earth, demonstrating resilience and adaptability. This significant scene from the game was incorporated into the show, and remarkably, a real-life giraffe named Nabo was brought in for Pedro Pascal and Bella Ramsey to work with. The giraffe was filmed in an area enclosed by blue screens so that visual effects artists could add the background later. However, a computer-generated giraffe (with a large green neck and head controlled by crew members in green suits) was used in certain close-up shots, which were then edited to appear as if they were filmed without human intervention.

Alex Wang talked with Awards Radar about obtaining high-resolution images of a genuine giraffe for a future project involving a computer-generated giraffe. “We captured images of the actual giraffe at the Calgary Zoo and have some photographs,” he explained. “Later, we digitally scanned these images so that we could smoothly transition between the digital giraffe’s performances and the real one.” Upon viewing the completed work, it’s nearly impossible to distinguish where the authentic giraffe ends and the CGI begins, considering that Wētā had to meticulously render over eight million hairs on their digital creature.

The steakhouse scene was made with a mixture of fake and real fire

Film crews strive to keep fires under control because they can easily get out of hand, leading to the frequent use of digital effects. However, fire plays a crucial role in the steakhouse fight scene from Season 1, Episode 8 — “When We Are in Need.” In this instance, Ellie throws a smoldering wood piece that ignites a curtain. To create this scene, both practical and visual effects were combined effectively.

In a hands-on approach, the team added piping system-wide across the steakhouse set. This piping contains metal grids with spaces for flames to pass through, ensuring a controlled burn without any risk of it becoming too intense. However, this has resulted in visible metal bars within the camera’s view, which is where our Visual Effects (VFX) team steps in. They will meticulously go through each frame and erase the flame grids so that it appears as if the restaurant is genuinely ablaze.

Furthermore, in post-production, the visual effects team enhanced the flames, creating an illusion that the fire was spreading beyond the reach of the piping. In reality, only 25% of the fire depicted in the scene was real. The bars were strategically positioned to limit the spread of fire while maintaining their fireproof properties, preventing any damage to the set.

The State House explosion was done in stages

Experiencing a blaze on set is one thing, but a blast – the kind that echoed as Joel and Ellie fled from the Massachusetts-like State House – is a whole different ball game. When Tess, our comrade, succumbed to infection, she made the heartrending decision to sacrifice herself by detonating, aiming to annihilate as many adversaries as possible. The crew captured the exterior shots in the vicinity of the State House at the Alberta Legislature Building, a structure that mirrors the real Massachusetts State House, minus its famous golden dome. Since our characters were mostly on the ground level, the absence of the roof wasn’t an obstacle.

For the sequence where Joel and Ellie escape, the visual effects (VFX) team needed to create a digital replica of a building that matched the filmed version. They used drone footage and LiDAR technology for precision and to add realistic plant growth to suggest decay. To make it seem like the State House’s first level had exploded, VFX artists designed a pyro simulation with smoke and debris. Additionally, they included burning clickers in the wreckage, which become visible when Joel and Ellie look back at the destruction.

2025-04-19 14:32