We also had to create a lot of reflections in the windows of the plane.” A camera was mounted on a techno crane to capture the necessary images. We layered in CG clouds in pretty much every shot to add additional depth and to get a sense of speed. We had real plates of the Swiss Alps that were shot in the daytime and we did a day for night on them. “The interior shots were a gimbal set of a plane interior against the green screen with the actors,” reveals Visual Effects Supervisor Sean Faden. We had to thin out his cheeks, hollow out his eyes a little more, remove his eyelashes, and thin out his lower lip to make him more like the Red Skull character. Hugo isn’t a really gaunt guy but we had to make him that. We wanted to make it look like tight skin as it’s wrapped around a very boney structure. ![]() “We realized at the beginning of its production design that we would have to manipulate his face considerably because physically when you put a quarter inch mask over a human you can never get it smaller than a human and that’s what you want. “ looked beautiful because you weren’t quite sure whether it was bone, skin, muscle, or blood,” enthuses Christopher Townsend. ![]() After much R&D we ended up with a 2D solution where we are literally mesh warping Chris Evans’ body and slimming him down, reducing his shoulders and arms, making his face more gaunt, thinning out his nose, making his chin more pointy, not quite an all American square jaw, and also making him shorter by about five inches.” We all wanted his performance to be there as much as possible. “It wouldn’t have served the purpose of the film and the purpose of the film is to get our actor, Chris Evans in this case, up on screen. “There was an awful a lot of work involved to make our main visual effect, ‘Skinny Steve’, the pre-rebirth Steve Rogers, before he is transformed into Captain America,” says Visual Effects Supervisor Christopher Townsend “We talked about using a CG head similar to what they had done with The Curious Case of Benjamin Button.
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