Blorph

One way Jeremy approached that was purely procedural — he got in there and digitally grabbed the Brain Bug’s flesh and warped it all over the place. For the actual wriggling mounds of flesh, Jeremy used another shader, created by Doug Epps, called ‘Blorph’.

Meanwhile, Digital Domain crafted its own blorph for the final long shot in Titanic where the camera dives down into the sunken ship and then transitions from the murky deck into a pristine 1912 ship. The studio combined miniatures, motion control footage, live-action plates, and cg elements to make the shot possible.

But anyway, the blorph was, we were in Socorro, we’re up in the satellite area. We come down, we’re on a crane if I remember right, we drop down with Jodie in the frame, we start to follow her on the crane arm. And as it touches down, there’s a Steadicam operator on that crane who steps off and he just keeps going, and he chases her towards the door.