there have been many different versions of carnage over the years in comic books video
games and cartoons every artist has portrayed him differently using all these different versions as
reference material and also researching fan sites the vfx team analyzed what they needed carnage to
do in the film and from there began to design how he would look how he would move and perhaps more
importantly why he would look and move that way carnage is different to venom carnage is venom's
offspring a darker and more violent version of venom whose bond with his host isn't one of
mutual benefit like venom and brock's symbolic one but it's self-serving and destructive for
the way that carnage propagates and increases his biomass the team decided that his symbolic nature
would make him want to imitate the structures around him and so they decided to research the
lindenmaier systems lindenmare systems or l systems are a mathematical logic system
for describing the growth of simple molecular organisms you can use l systems in architecture
by encoding a simple set of rules applied repetitively you can create complex geometric
structures from organic forms you can see this technique best in the final cathedral sequence
although a priori venom may seem unchanged from the first film he has actually undergone various
changes and improvements his muscle system is completely different from the first film
it now uses a three-layer soft tissue simulation muscle fat and skin venom's shoulders are slightly
smaller and his head's slightly larger his facial rigging has also changed to allow for a more
vocal role and to help capture some of the subtle nuances of tom hardy's vocal performance you may
have noticed that venom's voice is different in this film too tom hardy works by first rehearsing
a scene and then he goes off to a quiet area and records audio of himself acting out venom's part
then a sound guy plays that audio back to hardy through an earpiece in his ear this method allows
hardy to play off himself interrupt venom or have the sound guy make venom interrupt him this led
to a more natural performance which both the sound team and the rigging and animation teams wanted to
maintain another improvement made was in the area of cloth simulations when venom or his tentacles
emerged from eddie brock's body the areas that could sell or break the shot were the points where
eddie's clothing meets venom these two points couldn't just look like venom was stuck onto eddie
it had to look like venom was emerging from eddie this process had to be photo real and carried out
over multiple costume variants the hardest thing was the toweling material of eddie's dressing gown
which they found to be tremendously difficult to recreate digitally in the end they created a hair
sim over 5 million follicles each one replicating the tiny fabrics of the toweling material
the final fight sequence in san francisco's grace cathedral was the hardest and most
time consuming and in fact is responsible for nearly half of the film's vfx shots the team
surveyed san francisco's grace cathedral and built an almost exact digital replica
except for the main spire which they made taller and the scaffolding inside and out
was covered in plastic which ended up being a challenge for the shading and rendering team
the exterior had to be extended and matched to the live action plates from the set in leaves
including fog moving traffic street furniture and the city beyond on top of this there were multiple
transformations a lot of dialogue a large amount of full cg shots set extensions on almost every
plate and some of the destruction in virtually every shot pews are smashed plastic is ripped
pillars are broken scaffold collapses and at one point there's a massive hole in the roof
all of this destruction had to be simulated and then each stage of it had to be carefully
positioned along the timeline of the sequence to ensure destructive continuity throughout the scene
framestor was given the task of creating the stylized storybook scene of the correspondence
between clatus and brock the idea was to give the scene a childlike quality
attempting to express the story from the point of view of a naive and very disturbed
child they tested different pencils and inks on different paper comparing textures and searching
for a style that fit both the narrative of the film and portrayed this sense of juvenile
naivety and malicious violence ink splats were added to give the sensation of grime and the
drawings made to look as if they had been stained with blood thus adding the sensation of violence
staging and timing were as important as medium and style they wanted a staggered look kind of
like a flipbook animation when the animation felt too smooth they pulled out frames making
the story jump and trip and giving the scene a disjointed and erratic feeling
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