The first two people we hired were VFX supervisor Jamie Price and VFX producer Randy Starr. Animation is all post, basically, and post is huge in a heavy-VFX movie like this. How early on did you incorporate post and VFX? You have to think spontaneously and adapt constantly to weather, logistics and so on while you’re shooting. And there are huge differences - in animation you can control everything, but in live action it feels like you can control nothing. The thing is, even on a big movie like this, you never have enough money or time, so all that prep and communication is so helpful. I have a team that helps with all the previz, so we can see how it will come together, and I want to show the crew what we’ll be doing. I like playing around with all that stuff. And in live action, you’re still doing some version of animatics with storyboards and doing previz, which is layout. ![]() When you’re building animation reels, you’re doing animatics and layout. ![]() Very different, but there’s similarities as well as big differences. Live action is very different from animation. I spoke with the director about making the film, dealing with the VFX and his love of post. McKay assembled a creative team that included DP Larry Fong, editors Roger Barton, ACE and Garret Elkins, ACE, and VFX supervisor James E. Simmons) in a quest to rewrite the fate of the planet. Determined to save the world for his young daughter, Dan teams up with a brilliant military scientist (Yvonne Strahovski) and his estranged father (J.K. Among those recruited is high school teacher Dan Forester (Chris Pratt). ![]() Now he’s made the leap into live-action filmmaking with the sci-fi, action-adventure The Tomorrow War, which kicks off when a group of time travelers arrive from the year 2051 to deliver an urgent message: Thirty years in the future, mankind is losing a global war against a deadly alien species known as “white spikes.” The only hope for survival is for soldiers and civilians from the present to be transported to the future and join the fight. Director Chris McKay on set with Sam Richardson
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