With over two decades of experience in the VFX world, Mat Krentz has worked at various studios like Look Effects, Image Engine, Zoic Studios, Method Studios, and Framestore. His work can be seen in many productions such as Game of Thrones, Triple Frontier, For All Mankind, and Heart of Stone.
What is your background?
I’ve been in the visual effects industry for over two decades, starting as a compositor at Rainmaker in Vancouver. Over the years, I’ve taken on various roles, eventually becoming a VFX Supervisor and I’m currently with Framestore in Melbourne. Throughout my career, I’ve specialised in creating invisible visual effects that help support and enhance the story, while learning from and growing with the talented teams I’ve worked with.
How did you and Framestore get involved on this show
I first saw internally at Framestore that we were doing some initial bids on Beetlejuice Beetlejuice, and I immediately knew that I wanted to be involved. I was thrilled to see that Angus Bickerton was the production-side supervisor. Having previously collaborated with him on multiple projects, I had great respect for his expertise and approach. Working with Angus was not just about getting the job done; it was an incredible learning experience. His insights into the creative process and attention to detail helped elevate the project and shaped my understanding of how to merge practical and digital effects seamlessly.
What was your feeling to enter this iconic universe?
It was an incredible honour to be part of such a cherished and iconic film. Beetlejuice is a beloved classic, and with that comes a sense of responsibility to respect the original while introducing fresh elements. I felt a significant pressure to ensure that our work would live up to the high standards set by the first movie, balancing the nostalgia with innovative ideas that would resonate with both longtime fans and new audiences.
How was the collaboration with Director Tim Burton and VFX Supervisor Angus Bickerton?
Angus and I worked very closely to translate Tim Burton’s vision into the VFX. Angus served as the guide, helping us understand exactly how to bring the distinctive Burtonesque style to life through visual effects. Tim was also very clear in his desire to maintain a balance between practical effects and CGI, so our work always had to feel grounded in that world.
What are the sequences made by Framestore?
Our team worked on several key sequences, including Delores’ body re-assembly, CG costume augmentation on Delores, the Charles Deetz shark bite cavity, adding fall effects to trees, building and extending the attic model, baby Beetlejuice augmentation and puppet cleanup, CG snakes, and numerous other invisible effects that enhanced the magic of the film.
What was the creative process behind designing a « baby Beetlejuice » that remains both creepy and faithful to the original character?
The design and creation for baby Beetlejuice was handled by the art department. Our role was to ensure any enhancement to the animation and interaction with the environment felt true to the world.
How did you develop the prosthetics or digital models for the baby Beetlejuice to give it a distinct visual identity?
The prosthetics and models were created by the production-side art department and our focus was on digitally augmenting their work to ensure seamless integration into the final scenes. In some cases, we replaced and reanimated the hands and feet to ensure they interacted properly with the ground plane. We also had to replace parts of the costume with CG when there wasn’t enough material for the paint department to effectively clean up the puppeteers. On top of that, we added subtle but important details like wetness to his eyes, spit, and other gross touches like bloody foot and hand prints. We even added CG flies buzzing around his face to show off how gross and dirty the baby is.
How did you strike the balance between horror and humour in the visual design of the dismembered Delores scene?
It was crucial that the scene remained fun, despite the horror elements. We constantly reminded ourselves that this is a Tim Burton film, where humour and the macabre coexist harmoniously. We leaned into that to ensure the sequence was both entertaining and visually interesting without becoming too disturbing. I definitely heard Tragedy by the BeeGee’s way too many times while working on the sequence.
Were there any specific challenges in integrating practical and digital effects for Delores’ dismemberment scene?
Absolutely. The integration of practical and digital effects in this scene was particularly challenging. We had to bodytrack each actor for their individual limbs and then render full CG limbs with their “meatcaps” that could blend seamlessly with the live-action footage. For some body parts, like the torso, we would completely replace them with CG, which would mean we needed to simulate the movement of the dress, requiring detailed cloth simulations to ensure everything matched closely. Our CG Supervisor, Hitesh Solanki, was indispensable in managing the technical complexities. His meticulous attention to detail ensured that the digital elements blended perfectly with the practical effects, preserving the surreal yet whimsical tone of the scene.
Could you explain how you approached the mix of special effects and VFX for Charles Deetz?
A practical version of the upper-body cavity was built for some of OTS (or in this case, over the cavity) shots, but the majority of it was handled through CG. We had a performer in a blue suit for the upper body, while the lower half wore the Charles Deetz costume. We bodytracked him and then added our CG shark bite cavity, complete with animated blood spurts. We had a lot of fun collaborating on the comedic timing of the dialogue and spurts, especially deciding how much blood was just right without going overboard.
How did the visual effects team collaborate with the costume and makeup departments for these complex scenes?
There was a lot of back and forth with the costume and makeup teams, particularly after a screening note that required additional rips in Delores’ dress for a story point. This led to a challenge where we had to match-move her body and create a CG dress that could react like real fabric, while also showing off a digi double of Monica Bellucci through the rips. We also did some beauty work and enhancements for makeup on several characters throughout the film to ensure everything stayed cohesive.
How did the original « Beetlejuice » film influence your design choices for these new scenes?
The original Beetlejuice was our touchstone throughout the entire process. We constantly revisited it to ensure we stayed true to the established universe, particularly when making design choices that had to connect to the iconic aesthetic of the first film. Our first film with the team for Tim Burton movie night was obviously the original Beetlejuice to get everyone ready!
What role did practical effects versus CGI play in creating a terrifying yet whimsical atmosphere in these sequences?
Tim Burton was very adamant about doing as much practically as possible. Even when we stepped in with CGI, it had to remain grounded in reality and look as though it could have been done practically. For instance, when we created the earthquake crack in the model when Beetlejuice is first revealed, the direction was to make it look like it could have been achieved through practical means.
Were there any visual elements that needed to be toned down to avoid going too far into horror for a family-friendly film?
Yes, one of our favourites was the blood spurts during Charles’ scene. We went back and forth on the amount of blood, trying to strike the right balance between comedic effect and horror. Another instance was the body parts of Delores. Early versions of her « meatcaps » were too realistic and gory, especially when half of her face was missing. We had to dial it back to keep it more playful.
Were there any memorable moments or scenes from the film that you found particularly rewarding or challenging to work on from a visual effects standpoint?
All of the work needed to look photo-real while still fitting within Tim Burton’s world, which was a rewarding challenge in itself. Our comp supe Stu Bruzek, played a crucial role in ensuring that all the VFX seamlessly blended into the quirky and fantastical aesthetic Burton is known for. Every sequence had its own unique hurdles, but it was rewarding to see how well the final product captured the tone of the original Beetlejuice while elevating it with modern VFX techniques.
Looking back on the project, what aspects of the visual effects are you most proud of?
I’m most proud of our ability to balance the practical effects with the digital elements, especially in scenes that required a significant blend of the two. The way we enhanced practical prosthetics and makeup, while keeping the VFX grounded and true to the original Beetlejuice feel, was particularly satisfying. Our team was able to maintain a sense of authenticity even with complex shots like the Delores reassembly or Charles’ shark bite, making it feel like they could have been achieved practically.
What is your best memory on this show?
While it was an incredible honour to work on such an iconic film and contribute to its legacy, my best memories are always tied to the people I work with. The camaraderie we built as a team made the whole experience even more rewarding. My production team led by Dan Booty was amazing and they always found ways to get everyone together to bond outside of work. One of the highlights was hosting Tim Burton movie nights or show parties, where we’d unwind, watch his films, and draw inspiration for the project. It was a great way to strengthen our team and immerse ourselves in the world we were helping to create.
How long have you worked on this show?
I worked on Beetlejuice Beetlejuice for about 12 months, starting around mid 2023.
What’s the VFX shots count?
We delivered approximately 250 VFX shots for the film. These ranged from intricate character enhancements, like the reassembly of Delores, to large environmental changes and subtle invisible effects that helped bring the magical and whimsical world of Beetlejuice to life.
What is your next project?
My next project is Thunderbolts*, which I’m currently working on with the Framestore team in Melbourne. It’s exciting to shift from the fantastical world of Beetlejuice to the action-packed, superhero genre with Thunderbolts. It presents a whole new set of challenges, but I’m looking forward to continuing to create visual effects that support and enhance the story.
What are the four movies that gave you the passion for cinema?
The film that had the most profound impact on me was Jurassic Park. I vividly recall being absolutely amazed when I saw it in theatres as a child, multiple times in fact. The following films also left a lasting impression on me when growing up: The City of Lost Children, The Wizard of Oz, and E.T.
A big thanks for your time.
WANT TO KNOW MORE?
Framestore: Dedicated page about Beetlejuice Beetlejuice on Framestore website.
© Vincent Frei – The Art of VFX – 2024
