Inside Heroes

Inside Heroes
Inside Heroes on NBC.com

Inside Heroes is a series of short behind-the-scenes videos on NBC.com that display the making of Heroes.

Visual Effects

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Mark Kolpack, Anthony Ocampo, and Ryan Wieber (all from Stargate Digital) expound on the difference between special effects and visual effects--namely that visual effects generally are those effects achieved after filming has finished. They explain the process using the Tokyo scene in which Hiro stops time to save a Japanese schoolgirl.

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  The first step of the process is to build 3D objects.
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  The next step is to match actual camera moves to digital camera moves.
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  Green riggings are used to support up actors and props, and are digitally erased.
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  Then 3D objects are incorporated and camera track moves are adjusted for precision.
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  Finally, film grain, focus effects, and other aspects are added to enhance realism.
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  Adrian Pasdar is shot in front of a green screen.
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  Visual effects artists add motion blur and other elements.
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  A digital version of Nathan is created.
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  Filmed versions are replaced with digital versions.
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  Visual effects are most effective when they are not distracting, but enhance the story.

The Score

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Wendy Melvoin, Lisa Coleman, and Michael Perfitt (music engineer & mixer) discuss how they produce the instrumental score for Heroes. When Wendy and Lisa first read the scripts, they felt the score should be orchestral. Upon learning more of the characters' magical and mystical aspects, they thought that Shenkar's sound was needed because of his Indian, jazz, and experimental jazz influences. They believe his voice--especially when he sings just one note--is immediately identifiable as being unique to Heroes.

Michael Perfitt calls the process a "marathon" and likens it to doing an entire film score each week. Lisa believes the music is another character, an "alter ego". Wendy thinks it would be "hot" if Heroes ran as long as I Love Lucy.

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  Scoring begins with spotting notes received in script reviews.
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  Note cards for each character are made to organize the vast stories.
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  Michael Perfitt takes the notes and adds cue locators.
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  Each scene is a marked with a time code to identify an exact location in the scene.
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  Music is then written to coincide exactly with certain moments.
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  Instruments from around the world are used...
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  ...to add an element of timelessness, and so that every character is heard.
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  The musicians believe the music is the "glue" that links everyone together.

Wardrobe

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Debra McGuire explains how she creates the costumes for Heroes, which she believes to be integral to the storytelling. She finds that creating palettes defines the show, the characters, and the locations. For instance, Texas has a red, white, and blue palette, while New York City has dark grays and other somber colors. Japan has a very distinct black and white scheme. Debra also discusses the unique challenges of creating costumes that can be manipulated for special effects like aged clothing, blood-splattered garments, and shirts that reveal protruding bones.

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  Debra shows off the red and white themed colors of Odessa.
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  Debra admires Masi Oka's shoes.
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  Sometimes costumes have to be altered...
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  ...or manipulated to allow for special effects.

Stunts

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Stunt coordinator Ian Quinn gives a guide to the stunts performed on Heroes. He explains that each episode usually has some stunt work--it is a way that the characters' powers can be visually demonstrated to the audience. Ian reports that as much as possible, the actors do their own stunts, after weighing the safety and risk factors. He believes this brings an element of realism to the show.

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  Ian Quinn rehearses a scene with Ali Larter and Matt Bushell.
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  Ian tests out the stunt before the actors try it.
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  Adrian Pasdar puts on a harness for a flying scene.
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  Adrian dangles in front of a blue screen.

Makeup

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Using the ending fire scene from Company Man as a backdrop, Lori Madrigal takes the viewer through the ins and outs of the Heroes makeup department.

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  Prosthetic pieces are prepared...
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  ...and laid out to dry.
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  Hayden Panettiere's burn makeup is applied.
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  A stand-in actress is heavily makeuped.
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  Three stages of burning are needed for the effect.
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  Hot gel is applied to Jack Coleman's arm.

Craft Services

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John Hinterlong gives background on the craft services provided for the Heroes team. He explains that craft services assist all crafts, including lighting, grips, sound, and camera. However, the main responsibility of craft services is to provide food and drinks. There can be more than 150 people working on multiple units at any given time--craft services provides water, coffee, snacks, and other foods necessary. John faces unique challenges: for instance, Milo Ventimiglia is a vegetarian, Hayden Panettiere loves French onion soup, and Greg Grunberg likes lots of protein and no sugar.

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  One of the responsibilities of craft services is to assist with cameras.
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  Mostly, craft services prepares spreads of food.
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  John Hinterlong and others prepare all day in a small kitchen.

The Artwork

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Tim Sale expounds on his role in Heroes--creating artwork for Isaac and Peter. He explains that he is colorblind, and is not a painter by nature. However, through the use of computers, he is able to use grayscales to properly shade a piece of artwork, which can then be turned into a prop painting.

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  Tim Sale works at his drawing board.
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  Tim sketches an image of Peter and Simone...
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  ...and a promotional image of Niki and Jessica.
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  Tim uses a photo of the train wreck to produce what will become a prophetic painting of the scene.

Production Design

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Ruth Ammon describes how production design impacts Heroes. In addition to trying to give each character his own design look, Ruth examines the words in the script to guide her design. She singles out the design of Mohinder's apartment as one of her favorites, and reveals details hidden in the set's motifs. She also touches on her department's love for destroying things and their collaboration with other departments (namely the visual effects crew). Because the designers are not aware of the full story, Ruth says they try to design sets that are flexible and able to be changed to fit the needs of the story. She also spills some Season Two spoilers.

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  Ruth Ammon directs the production design...
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  ...as others pore over architectural blueprints.
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  Details of Mohinder's apartment include...
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  ...objects from India...
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  ...a little-seen bedroom...
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  ...and closet.
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  Ruth shows one of her favorite details.
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  Mohinder's kitchen...
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  ...is marked with scars from flying glass.
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  Ruth also shows a new set...
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  ...a pub in Ireland...
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  ...called Wandering Rocks.

Heroes Webisode Behind the Story

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Tim Kring explains the purpose behind creating webisodes: to delve deeper into the mystery and mythology behind Heroes. He also tells how fun he thinks it is for the audience--and the crew--to have a character have a life online, and then later cross into the episodes. Rebeka Montoya expresses how great she thinks it is that fans can learn more about these characters, and Kiko Ellsworth explains that Going Postal explores the character of Echo, including his ability.

Notes

• NBC.com has a video entitled Inside Heroes which provides a behind-the-scenes look at the making of the Going Postal webisodes.