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The Last Of Us Season 2 VFX Team Reveals Secrets Behind Epic Episode 2 & Teases Season 3

BBG News

As a passionate fan of The Last of Us, I must issue a spoiler alert for season 2. The creative team behind this phenomenal show had an immense challenge on their hands – adapting the groundbreaking, rule-defying game from Naughty Dog for television. Co-created by Craig Mazin, who brought us Chernobyl, and Neil Druckmann, the original game’s director, The Last of Us season 2 brilliantly decided not to cram the entire scope of the game into its seven episodes. Instead, it focused primarily on Ellie’s perspective, offering viewers heart-wrenching moments like Joel’s demise and Ellie’s blossoming romance with Dina.

In the second episode of season 2 for the series “The Last of Us,” which marked the heartbreaking departure of Pedro Pascal’s character Joel, the filmmakers faced a significant challenge. To bring its most impactful scenes to life, they enlisted the help of Wētā FX, a special effects studio based in New Zealand. The episode, aside from Joel’s death, also showcased Abby’s nail-biting chase across a frozen terrain pursued by infected hordes, mirroring one of the most exhilarating sequences from the original content. Wētá dedicated considerable effort to this sequence, including creating a unique ending for television, where a Bloater bursts through the gates of Jackson.

As a devoted movie enthusiast, I recently delved into an enlightening chat with Nick Epstein, Visual Effects Supervisor, and Dennis Yoo, Animation Supervisor, who played pivotal roles in crafting the visual magic seen in season 2 of ‘The Last of Us.’ Since visual effects responsibilities were shared among various studios throughout the season, our discussion primarily focused on the second episode and Abby’s harrowing journey through the tundra, as well as the relentless attack of the infected horde on Jackson. Join me as we explore the intricate process behind these awe-inspiring sequences, appreciate the meticulous care put into every detail by the special effects artists, and catch a glimpse of what they envision for ‘The Last of Us’ season 3.

Why The Last Of Us Season 2 Was Harder Than The First

“There Was Nowhere To Hide”

In the first season of The Last of Us, the most complex scene involving infections, which Weta FX team put considerable effort into, occurred in episode 5. This is where a vast horde assaults a rebellion led by Kathleen, portrayed by Melanie Lynsky. Realizing this grand spectacle was quite challenging, but The Last of Us season 2 episode 2 presented an even tougher task. According to VFX supervisor Nick Epstein, the main difference was “the level of detail.” The shooting conditions meant that everything would appear much clearer.

Epstein added, “A significant portion of the heroic actions from season one occurred at night. In contrast, this is set in broad daylight with scattered lighting and no places to hide. When you saw what they were filming, it made us think, ‘Our work needs to be as good as or better than that.’ As a result, the technical standard we aimed for in this season was higher than the first.

As for me, I found the sheer size of the crowd and the amount we could observe within it to be the primary factor that set things apart. – Animation Supervisor Dennis Yoo

Or

For me, what made a significant impact was the massive number of people in the crowd and the extent to which we could witness their actions. That’s what I believe mainly differentiated things. – Animation Supervisor Dennis Yoo

Yoo explained, “The scene was illuminated by firelight,” he went on. “Characters were sprinting through it, and their appearances were adjusted specifically for that style of lighting… Unfortunately, when we transferred them over to season 2, they didn’t look as good in the new lighting. I believe the primary issue was that there wasn’t any place to conceal characters under the new lighting conditions.

The Bloater Was Majorly Updated For Season 2

Now Anatomically Correct!

In the two major, infection-focused scenes in Wētā’s production, the focal point was always the ‘Bloater’. When it came to encountering the uncommon, hazardous infected creature again, the special effects team recognized that some adjustments were necessary. As Epstein explained, by moving the first season’s Bloater into the Jackson setting, it was clear that more than just making it seem like it had been through a snowy wilderness, changes needed to be made. Epstein also collaborated with Mazin and Druckmann on redesigning the appearance of the Bloater, ensuring it stood out distinctly from its previous version in season one.

In the key infection-related sequences in Wētā’s work, the main character was always the ‘Bloater’. When dealing with the rare, dangerous infected type once more, the special effects team knew that changes were required because placing the first season’s Bloater in a different environment showed it needed more than just snowy terrain alterations. Epstein worked alongside Mazin and Druckmann to modify the look of the Bloater, making sure it looked significantly different from its earlier version in season one.

“He explained that we followed a design phase,” he said further, “The new version had to be larger and more intimidating compared to season one. With this thousand-strong horde already overwhelming them, it’s as if they’re saying, ‘Oh no! What else do we have to face?’ Tommy recognizes the sound. He reacts, ‘Oh no! That’s a bloater.’ I believe those attuned to the sound of a bloater would also react that way. Then, looking beyond the gate, you can see him charging through the snow.”

To achieve this, the VFX team focused on wrestlers with a more robust physique, as opposed to typical bodybuilders. They also incorporated additional cordyceps fungi for added detail. Interestingly, Epstein mentioned that these mushrooms were called “Chicken of the Woods.” Therefore, many of the intricate details you notice on his shoulders and throughout – such as the crown – were modeled based on real-life photogrammetry of this specific fungus.

Regarding the absence of hiding places,” Yoo commented, “he certainly wasn’t a Ken doll, was he? Therefore, we ended up giving him some male anatomy, which we were pondering over how to create.

As a cinephile, I can’t help but wonder if that opening scene was real or digitally crafted. Richard Parker, the character, sprinting towards the camera, there’s definitely some CGI involved in that nub of his. It sure felt chilly watching it!

In essence, Epstein revealed that Wētā’s strategy for ensuring the bloater stood strong under examination was by investing more time. He revisited the same texture artist who worked on the season 1 creature and requested a 100% increase in texturing, along with additional details. To enhance its appearance, they added details such as scattering ice crystals and snow on its surface. This way, close-up shots, like the one where the bloater gets shot by Tommy, could have been full-screen face close-ups, and it would still have remained visually consistent.

In terms of animation, Adam Basil, the actor from season 1, came back to bring life to the creature once again. Despite Dennis Yoo and his team’s efforts to make him appear much heavier through key framing and adding weight, Basil’s performance remained strong. Yoo mentioned that having this foundation was intriguing, as it seemed to resonate with Craig, who remarked, “Ah, yes. That’s a bloater.” This indicated that the same performer was back at work.

How The Infected Horde Was Made

“30 To 40” Practical Performers Turned Into Almost 1,000 Infected

Episode 2 of The Last of Us season 2 showcased an enormous swarm of infected. As Epstein put it, this grand spectacle stemmed from approximately 30 to 40 real performers, who were stunt actors wearing prosthetics. These individuals added authenticity to the movement and lighting needs of the digital horde. However, in some expansive shots, our computer-generated horde swelled to nearly a thousand, which posed its own set of challenges.

Epstein shared a fitting quote as they concluded, “‘Every character here is a hero character,'” which signifies that each character demanded unique care and attention to detail. He added that dealing with a large crowd often necessitates compromises due to numerous characters, but in this case, there were none. Instead, they painstakingly created every digital infected from scans of the stunt actors wearing their prosthetics, and had to devise innovative methods for variation.

For Yoo, one of the major hurdles was that humans are exceptionally skilled at discerning patterns… it’s easy to spot a pattern when things are similar. Wētā used 30 fundamental models for movement animation, but with a horde of 1,000 individuals, this wasn’t many. Yoo often heard comments from Nick such as, “Oh dear, you have two base models next to each other.” However, as Epstein put it, with 1,000 infected, it was inevitable that similarities would occur.

Wētā overcame this issue by establishing a unique system, where according to Epstein, “‘any infected individual could wear any article of clothing and assume any hair,’” and furthermore, they were enhanced with various types of cordyceps to provide an immediate visual contrast. This innovation meant that “‘animation didn’t have to concern themselves with the costumes of those characters,’” allowing them to position these characters throughout the snowy landscape of Jackson without wasting time on their appearance.

Epstein clarified that our system also handled textures for lighting purposes. This allowed the light designer to create patterns directly onto the garments. For instance, when Craig requested a checked shirt for a specific character, we could oblige, saying something like, ‘Sure thing, no problem.’

Dennis Yoo found it more difficult than anticipated to make sure each infected individual moved at their own pace rather than in a uniform manner. As he explained, “It’s quite surprising when you realize that they all seem to be moving together.” He added, “You can even discern this pattern, even if it involves different characters.

In an attempt to resolve this issue, I decided to record additional motion performances, but encountered some challenges: “Since I couldn’t secure the same actors due to their unique running styles, I had to bring in new performers with a variety of movements. I instructed them to run differently than they usually do.”

As a passionate film enthusiast, I found myself faced with criticism regarding the movements in our production. People were saying things like, “Those characters run really awkwardly,” to which I couldn’t help but agree. It just didn’t look natural.

However, this presented a challenge when it came to our new cast members, as we had to make their actions suitable for CG characters of varying sizes. This decision, in turn, created quite a few issues for us. For instance, having an infected character who was six feet two and another who was four feet five, both performing the same motion to maintain the same speed, resulted in one character appearing as if they were a cartoon character moving around.

Dennis Yoo & Nick Epstein Share Their Proudest Subtle Moments

“I’m Still Blown Away By A Lot Of What We Did”

If Dennis Yoo, Nick Epstein, and Wētā performed their duties effectively, viewers would be engrossed in the storyline of The Last of Us season 2 without contemplating the extensive effort involved. When queried about the intricate details they were particularly proud or enthusiastic about, Epstein responded with “From my perspective, we faced considerable hurdles throughout, and I’m still astounded by much of what we achieved.

He went on to say, “What I enjoy most about this, and you might not realize until more details emerge, is the balance between real and digital characters during the Main Street chase scene. We aimed to group the infected actors together and keep them separate from the CG (computer-generated) infected, but it didn’t always work perfectly.

In some instances, Epstein mentioned, “it’s entirely computer-generated” and he didn’t initially realize this. What he’s particularly pleased with is how well he managed to integrate these CG elements seamlessly.

Yoo concurred, “It indeed aligns with my thoughts, those scenes where spectators are unaware that computer-generated imagery (CG) was used – they believe it’s a real crowd.” He elaborated on the most challenging part of the episode, which was “the chase sequence where Abby leapt onto the ladder, and the camera angle looked down, with the crowd visible below. That was one of the trickiest aspects to sort out.” Yoo mentioned that there was a real crowd gathered around the ladder, “followed by our own crowd nearby, yet these groups needed to interact seamlessly and react off each other.

Yoo explained that his team positioned the digital characters near the real actors who needed to move, then matched their movements with computer-generated (CG) ones for accurate tracking. To create a unified crowd feel, they added a ragdoll simulation on top, making the characters subtly sway as if in a concert. The result? It blends seamlessly, appearing so natural that viewers often don’t realize the digital characters are there.

Wētā Team Members Share Their Season 3 Hopes

“I Would Go To Extreme Lengths To Work On That”

In the finale of The Last of Us season 2, a hint was given: the upcoming season will delve deeper into the backstory of Abby’s character, Joel’s killer. Those who have experienced The Last of Us Part II, like Epstein and Yoo, anticipate that this narrative shift could potentially make Abby more relatable than Ellie at this stage in the storyline. Epstein expressed his preference for Abby’s story, stating, “I found Abby’s part of the story more intriguing… I ended up supporting Abby by the end of her tale.

Yoo remarked, “That appears to be its intended design.” He further stated, “Initially, you disliked her, and now you’re reluctant to engage with her.”

Or:

Yoo said, “It looks like that was its intended form.” He went on to say, “At first, you didn’t care for her, and now you don’t seem keen on interacting with her.

When asked about their main aspirations for developing elements in Abby’s tale, both Epstein and Yoo swiftly and clearly expressed their thoughts. In their own words, they eagerly expressed, “The Rat King is undoubtedly the one I’d go to great lengths to create, as I’ve already brainstormed numerous ideas about how it could unfold. Therefore, if given the chance, that would undeniably be my dream.

You would be excited to tackle another type of infected,” he said, “and it’s the Rat King that intrigues me most. As for those shamblers, I can’t wait to explore them in depth. They introduced the spores in season two, a plot point we didn’t touch on at all in season one. It seems they were hesitant about using actors with masks.

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2025-06-06 00:04

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