"Love and Monsters" ALL VFX REMOVED!

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Love and Monsters is a Monster Adventure film that was going to be released in theatres worldwide by Paramount Pictures, but due to the pandemic, its release was mainly digital. Netflix has recently released it on its platform and it has received good reviews especially for its VFX that have even received an Oscar nomination.
Mr-X, Mill film, and MPC were given the complicated task of creating post-apocalyptic earth full of mutated animals that had to be larger than life but still remain realistic.

HellCrab.
One of the more intricate and complicated monsters was the HellCrab. As the sequence was on a beach the crab was going to be in full sunlight so, in addition to ensuring that the CG Crab was correctly illuminated, the team also had to make sure they added enough texture and detail to make the crab complex enough to look real. They added barnacles and seaweed, they even went so far as to add a plastic six-pack ring caught on the crab, and the crab trap that he was caught in before he mutated attached to one of his legs.
An excavator with its arm wrapped in blue screen material was used for the Outhouse destruction scene and additional CG debris was added in post to marry the CG crab into the scene.

The Pool Frog.
This team's spec for the pool frog was, "Think of the fattest frog you can, times it by 4, and then add boils". The VFX team drew on Monty Python's Mr. Creosote for inspiration for what they called a "Joyously grotesque giant frog". As with the HellCrab, a variety of practical effects were used to marry the CG frog with the Live-action footage.

The Queen Sand-Gobbler.
This was the first creature the team received designs for, and that was on the first day of shooting. Dubbed "The Nastiest and Hungriest" of all the creatures this scene was carefully storyboarded in order to be sure where the CG Sand gobbler would be in the shot and making sure that the shot was framed properly.

The Blind Siren Centipede.
This was dubbed "the Most Challenging" creature because of the complex rigging and intersection avoidance involved in animating it. It was also decided in post-production that they had to change her design, to make her larger and scarier. The VFX team scaled her up to 35ft long and added some extra limbs. They also had to alter the actual action of the scene to accommodate her larger size into the frames that had been shot in principal photography.

Location.
In order to sell the feeling that the human population had been largely reduced and subdued and that nature had run wild for seven years, the team had to select their locations very well. Thanks to the fact that large parts of it still remain untouched and wild, Australia was the perfect location, this being said, the crew did have to add plants and props to simulate 7 years with little human interference.

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