"When a project like this begins, you are given a few artists you ask for, for their particular expertise," explains Shepherd. "One half, you've worked with before the other half you haven't, and there are the usual moves and shifts as we get to know those who are doing the best work. Some are better hard body modelers than others. One guy in particular was responsible for just the alien antennae lookdev and building," explains Shepherd.
Somewhere in the world there is a 'crack team' that goes from projects like 'Alien v Predator', to 'District 9', from 'Skyline' to 'Battle: LA', then to the next one. The team brought together for the latest shoot'em up science fiction from space is one such A-team. Enter the crew of 'World Battle: Los Angeles.'
Jon Liebesman didn't want to go with making this a 3D stereo production. Especially since the budget wasn't geared up for a stereo creative, the only option would be to convert it after production. "We're glad to say he wasn't interested in converting this to 3D," says Shepherd. "It is so hard to pull keys from loads of smoke, dust and clouds of ash."
Live action for the production of Battle: LA was just under a year, peaking thru August 2010. There was quite a break between set work and work back in the studio in London.
"There's one shot where the entire length of the beach is revealed," Ben describes. "There are 15 or so meteorites falling, with the smoke rings and water splashes. We really threw the kitchen sink at the scene here." There was a time when Shepherd had to ask another of the supervisors if he was overdoing it. "Tell me, is this awesome or is this just ridiculous, I can't quite put my finger on it!"
"No, mate, it's awesome," was the reply.
Ben Shepherd on IMDB
Battle Los Angeles
The Embassy VFX