The first season was primarily organic blood hits on set, practical bullet hits, practical gun flashes. Sam Nicholson: Overall we probably relied on digital effects much more heavily for this second season. And our collaboration with KNB EFX continued and we could lean on them to help inform us of what our final visual effects will look like and how it will fit into the world of the The Walking Dead. Jason Sperling: Internally, I was not on-set for season two but Victor and I could still communicate effectively, not only with each other but also with what the production needed. We’ve been working with the KNB EFX guys to get that practical/visual collaboration just seamless. We had Greg Nicotero’s make-up guys from KNB perform their magic on a zombie and then we did a 3D scan of that head – Nick Tesi at The Nicholas Group did the laser scan) so we could rip it off and have all the cool stuff meshed together. In episode seven where Glenn hits the zombies’ head off with a shelf, we went a little more in the 3D direction than we had in the past.

Victor Scalise: We were dealing with a number of new effects. Read our article on Stargate’s work for season one here.Ībove: watch Stargate’s breakdown of its season two visual effects for The Walking Dead.įxg: What were the some of the main differences between season one and season two of The Walking Dead in terms of the visual effects? We take a look at some of the season two highlights with Stargate founder and visual effects supervisor Sam Nicholson, the show’s on-set VFX supervisor Victor Scalise and digital visual effects supervisor Jason Sperling. The show has continued to showcase a rich mix of practical zombie effects, care of KNB EFX Group, and digital work from Stargate Studios. The second season of AMC’s The Walking Dead has just ended, with the finale scoring nine million viewers in the US.

Frameforge 4 guns and bullets