Early concepts of the creature design saw a more elongated face before Jon Silver brought in Stan
Winston. On a flight to Japan with James Cameron devised a creature with rastafarian qualities,
with Cameron's input on it's design Winston added mandibles giving Classic a face and not just a
mask which he would wear.
Prosthetics for the film were produced by Stan Winston School.
In shooting Kevin Peter Hall was chosen by Stan Winston mostly for his height, an actor that stood 7"
tall and could act in a costume who also dwarfed Arnold Schwarzenegger.
R/Greenberg Associates created the film's optical effects, including the alien's ability to become invisible
and its thermal vision, its glowing blood, and electrical spark effects.
For the cloaked scenes for Classic in the film motion control was captured by Arroyo Media an actor wore a
red suit in the shape of a predator which in post production was edited into a flowing and fluid form giving
the appearance of being cloaked. This was preformed on the first concept and then as the design of Classic
evolved was filmed again in the new costume. Joel Hynek visual effects supervisor used two different
techniques in filming, for filming the cloaked predator an actor in the red suit was filmed and the
background was filmed in post production, concentric in-line circles were used for the cloaking effect
and the second an infrared beam splitter on the two cameras was used, one filming the actors in
infrared and the other filming the background and in post production the two sequences combined
showing the scene as Classic would perceive it.
John Rosengrant head of the art department at Stan Winston School who designed concept drawing for a
predator's design in the film then created the clay models with help from Bill Basso, Shane Mahan and
Bruce Spaulding Fuller which were later cast in foam including the weapons and masks. Body parts, heads
and masks were created in Wed clay/Laguna clay EM-217 and Roma clay, before being dried and casted.
A sealant was used to seal the Wed clay which was set in two pieces, once dried a cast was made and set
in yellow coloured foam which then can be sprayed coloured for a particular design. Predator skulls would
have 60 rastafarian dreadlocks attached once cast and painted
Prosthetics for the film were produced by Stan Winston School.
R/Greenberg Associates again created the film's optical effects for the alien's ability to become invisible
with Video Image created the thermal vision.
Like in the first Predator film filming of the thermal shots was preformed by a thermal imaging camera and in
post production edited and played in to the filming of the sets with a cloaking technique added in post
production. Like in the first film an actor would be dressed in a red suit for the scenes of cloaking with
post production being added later.
Predator blood was created from glow sticks which was then applied in between takes with added blood applied
under the suits for when the character was shot.
In most Kevin Peter Hall played as the predator with R David Smith a stuntman who was used in some filming
including on a desenter rig after Harrigan had sliced his arm off during a chase scene.
The LA Lakers were used for the Elders, a scene that involved them shooting multiple blue screen with screen
shots as they appeared on screen. The different predator designs for the scene were given to the artist at Stan
Winston School who created their own designs for each with the Elder predator being called the 'Grey Back'
on set with other predators being called Guardian and Lost.
Michael Broom, Alex Toader and John Wheaton all produced designs of the predators along with
Joseph C Pepe who as well as set designs draw drawing for the masks and weapons of the Super Predators and Classic.
The designs of the Classic followed through from the first two films with small adjustments to
the suit design and mask which was made longer. A group of super predators called the Tracker,
Berserker and Falconer had new designs in keeping with their abilities and having superior
capabilities to the Classic, these also had new armour and elongated masks giving the appearance
of faster and sleeker predators.
On set Carey Jones played as the Tracker, Brian Steele as the Berserker and Falconer and Derek Mears
as the Classic Predator.
KNB EFX Group, Inc. had about 12 weeks to sculpt and mould all the body suits, faces, masks, armour
and weapons. Supervisors Howard Berger & Greg Nicotero needed to make multiple suits for each character
as they involved fight scenes and not adapted for each of these scenes. The actors would play in the
roles unless it involved a fight scene were stuntmen played as the characters including the fight
between the Berserker and the Classic.
There was a number of costume suits created by KNB EFX Group, Inc. for each character in the film which
were required for filming of different scenes which took the actors about 20 minutes to get into.
With the actors already being tall the suits added a further 2-3 inches and as the spec was for fast and
agile Predators, body armour was made a tight fit and masks for the characters were elongated and streamlined.
Predator's dreadlocks were also streamlined and positioned facing backwards adding to their fast athletic form.
As the Berserker and Classic were the only characters who removed their face masks in the film they
required a face mould and Berserker
had detailed colouring about the face and mandibles were as the Tracker and the Falconer suits
had holes were their faces were and masks fitted over the area.
Scenes that included the Classic, involved him being tied by rope to a monument as he stood
on a step ladder out of sight while filming, he was crucified in the film as a show of strength.
In production for some action scenes and during set make-up Andrew Varenhorst played as a
predator photo double and stand in. All other scenes saw the actors play as the characters
with CGI by Troublemaker Digital Studios being used for the cloaked scenes and some CGI by
Ubisoft Digital Arts being put in at post production like the Classic's wrist hologram were
he activates and programs a course for Earth and as weapons are discharged
Alien v Predator
Carlos Huante, Chris Ayers, and Farzad Varahramyan all designed masks which followed from the earlier films,
including the Elders which were based around designs of Scar. Carlos Huante designed the concept art for
Scar's mask and made subtle changes to his facial anatomy to make him more heroic. Design spec required
heavier armour with more extensive body coverage, Farzad Varahramyan and Joe Pepe provided most of the
details in early concepts, these also included updated weapons like the wrist blades and new designs for
plasma castor. Paul W. S. Anderson wanted the Predators of Alien v Predator to be equipped with variety of
new weaponry. Concepts of these by Farzad Varahramyan, first depicted blades extending laterally from the
forearm which later evolved into the 3' long blades featured in the film.
Early designs of the ceremonial dagger were designed by R.K. Post, the final design for Scar’s ceremonial
dagger, shuriken, net gun, shoulder cannons and wrist blades were drawn by Joe Pepe. Early designs of the
shoulder cannons were by Farzad Varahramyan with Joe Pepe designing variations which all appeared in the film.
Once decided on the design of the creatures, sculptures would then be made by sculpting supervisor
Andy Schoneberg, Bruce Spaulding Fuller, Don Lanning and Mike O’Brien for the Queen and Predator.
Scar's mandibles were sculpted separately to allow the animatronic components elements to be added
later, with foam made dreadlocks fitted when complete. While some body parts and armour were made
from silicone rubber others were produced from foam latex or fiberglass.
Of the weapons, knife handles and spear accents were sculpted out of clay, while the blades which
needed sharp edges were constructed out of plastic compounds and chrome plated with others from
fiber-glass. Multiple props of each were produced.
Scar was mostly played as Ian Whyte in AvP but for some scenes shorter 6' 5" and 6' 10 actors played in the suits.
Moving Picture Company created the visual effects of the alien and predator creatures with
Framestore CFC creating models and matte paintings of the surface, underground Pyramid and spacecrafts.
Predator spears were constructed with both extended and retracted shafts,
transitions in film between the two would be achieved by CGI in post production by
Cinesite and Universal Production Partners.
Aliens v Predator: Requiem
The character Wolf by Farzad Varahramyan was designed older and slimmer from the Predators in Alien v Predator, the engravings
depicted his exploits in hunting with straighter lines making him appear more aggressive and equipped with
new weapons. A mask from a fellow predator was a design from concepts from the earlier Alien v Predator film.
Other designs by Farzad Varahramyan including a backpack contained a MedPack, some filming involved filming separately on
a green screen and production crew assisting in passing out weapons and equipment from it as the actor
found it difficult to reach.
Ian Whyte played as Wolf, the character would have weapons consisting of plasma castors which
attached on separate arms produced by David Penalosa animatronic modeler and dissolving liquid
which was a solid cast unit with a light inside and a further similiar unit with a lid, further
details involving the dissolving liquid were CGI added in post production with the dissolved bodies
made from silicon.
The spacecraft was produced digitally apart from the area when cleaning trophies and using a collecting
syringe which was filmed on set.
Most filming including forest and town scenes were shot on location in Vancouver, Andrew Nesprando and crew
built the storm drains on set with some filming in real storm drains. Digital aliens used when running along
walls but mostly actors played as the aliens in suits.
Other locations included a Power Plant outside Vancouver, High School, Community Center with swimming pool
were an alien is killed then dissolved, Sports Shop and a Mental Institution as the hospital. The roof scene
filmed at the Mental Institution was played by Ian Whyte and Tom Woodruff Jr. with the crane scene filmed at Paramount.