Daniel Robichaud was the Animation Director on the Universal Theme Park ride Terminator 2 – 3D: Battle Across Time; his efforts were focused on the third act (working closely with Jim Cameron) which was completely computer generated,- the first two being a combination of live action footage and various types of effects. Act 3 was considered the climax of the show, and featured the T-1 million (or “T-Meg” for short) which was SkyNet’s most deadly Terminator guarding the CPU of SkyNet itself.
How did you get the job on T2-3D?
At the time (in 1995), I was working for Digital Domain, which was assigned the project in part due to the fact that James Cameron was a co-founder of the visual effects studio. In fact, T2-3D was what had lured me to offer my services to Digital Domain, since seeing Terminator-2 was a game-changing experience for me, triggering a transition in my career from designing motion graphics for television, to creating visual effects and animation for films.
What was it like to work with James Cameron?
Jim Cameron is renowned to be extremely demanding of all the members of his crew, and involved in every step of the process in order to manage the smallest details. It was truly inspiring to work alongside a director with such a clear vision, and to develop a relationship that would carry on to the movie Titanic, for which I also supervised the animation.
Jim Cameron originally described T2-3D as the stepping stone to a third theatrical production; through research we found an installment nearly happened around 1996- could this have been the future war movie fans always wanted?
It certainly could have been. Many consider T2-3D to be a glimpse of what T3 would have looked like, since it picks up where T2 left off. Cameron definitely treated it like a mini-movie, which tells a self contained story and goes far beyond a typical theme park ride. T2-3D has the substance usually found in theatrical productions.
Did you ever hear any Cameron T3 gossip?
Unfortunately, I have not been privy to any such gossip.
Whatever you worked on had to be converted into 3D- what kind of process was this (a painful one?) were you involved in that or would your work go over to another department?
Actually T2-3D was a “true” stereoscopic undertaking, as opposed to a 3D conversion which uses a variety of tricks and techniques to simulate the illusion of 3D. The footage was shot with a dual 65mm camera rig, while all the computer generated effects and animation were rendered from two virtual cameras at the proper interocular distance to simulate the human eyes. To add to the challenge, the VFX crew utilized an assortment of software packages, so a technical pipeline had to be developed ensuring consistency between the various elements for a seamless 3D result.
What was it like visualizing the interior of the SkyNet pyramid?
It was exciting to see the world of the future evoked in T2 come to life, and to help create it based on some groundbreaking production designs.
Fans have always wanted to see the SkyNet Pyramid on the big screen (a theatrical production), what do you think has stopped us actually seeing this massive structure and home of the machines? Surely by today’s standards it would be possible for us to see more of this location… ?
It would certainly be technically possible, indeed. It appears that post-T2 sequels were taken in a different direction, but hopefully future ones will feature more of that location.
The T-1 million- what was it like to work on the biggest and baddest Terminator of all?
It truly was a blast. The T-meg creature design, created by production designer Darren Gilford was absolutely inspiring. The design development went from a crab looking monster to the spider-like predator that impersonated the ultimate killing machine. With the technology at the time, it was challenging to build a digital model without the convenience of the now common subdivision surfaces, so we had to devise a new modelling method to allow for the intricate shape and the ability to morph, liquid metal fashion.
Was there any specific reason why it was decided to change from a crab to a spider, was it deemed more threatening/fluid and if the crab design had won out- would it have been a giant liquid metal version of the HK Centurion?
It was the evolution of the design that took the creature from a crab looking monster to the more streamlined spider-looking predator. A terrifying yet graceful beast, which, in spite of its enormous size, would have the agility to move quickly as it chases its preys on the stage.
Was it always planned on being a giant shape shifter (liquid metal) protecting SkyNet’s core CPU or were other concepts delved into first?
From its inception; the T-Meg was conceived as a step up from the T-1,000 in T2, and was to be made of the same liquid metal poly-alloy. Like the evil cop played by Robert Patrick, it would have the property to morph its shape and be virtually invincible.
Were you sad to hear that one of the T2-3D’s (Hollywood) had been replaced with a Despicable Me: Minion Mayhem ride?
Not at all, T2-3D had a good run, much longer than most typical theme park attractions. Perhaps a future sequel will give birth to a new Terminator ride… ?
The new Terminator: Genisys movie/future ‘T’ movies could indeed have a theme-park attraction… would you love to do something like T2-3D again for a future installment of Terminator?
Certainly!
Do you think the ride has more life/future years at other resorts eg. Japan?
Let’s hope so, although eventually it will have to give its place to newer attractions before it starts showing its age. After all, T2-3D is based on a movie which is now 20+ years old.
Many fans; due to financial status or location may never be able to see the ride in the flesh, do you think it is a technical possibility that the ride could be converted to a home release? eg. filming secondary layers of the live performances in front of the background utilizing home 3D home cinemas?
This would be a great idea. Short of being able to film and composite the live portion of the performance over the projection as it appears at Universal Studios, the digital sequence could very well tell the story as it is, since the Jumbotron screens in the virtual SkyNet set displays the action of the live actors on stage.
Any work you did or concepts that didn’t make it to the final product?
We worked from detailed storyboards, so the final result was already well defined from the start. However, it was fascinating during the production schedule to see everything slowly come to life, following the R & D phase and numerous iterations.
What projects are you working on or are upcoming?
I am currently working for Fox Studios, creating digital imagery and animation for its broadcast division.
Thanks to Daniel for a great an insightful interview and for providing us with great Exclusive Concept Art we have never seen before of the T-Meg.
Official Website of Daniel Robichaud: www.danielrobichaud.com
