The leading visual effects company delivered environment extensions, full environment replacements, and crowd duplication… plus some CG animated golf balls, on Adam Sandler and Netflix’s hit comedy sequel to Sandler’s seminal 1996 hockey-golf romp, ‘Happy Gilmore.’
Scanline VFX has shared with AWN and VFXWorld a visual effects breakdown reel highlighting its work on , Adam Sandler and Netflix’s hit sequel to Sandler’s classic 1996 hockey-golf comedy romp, .
Scanline’s work on the film predominantly involved environment extensions, full environment replacements, and crowd duplication.The studio shares that while there were shots with various odds and ends, like CG animated golf balls, jumbotron screen replacements, and even a full CG digi-double replacement, those shots were more the exception than the rule.When it came to the environment work, the film’s creative team was looking to redesign the shooting locations to feel more epic and engaging.
Some locations like the Maxi stage event needed extensive extensions, while others such as the Maxi forest hole (the first hole of the contest), and the Maxi thousand yard hole (the final hole) needed near complete replacements.Once those environments were sorted out, Scanline VFX used “every trick” in their arsenal to add crowd, including crowd tiles and bluescreen elements shot on set, Scanline’s generic 2D crowd library, and full CG digi-double crowds simulated in Golaem.Head to the links and enjoy the VFX: According to Scanline VFX, one of the toughest hurdles was reimagining golf courses that not only didn’t fit the story points of the movie, but had also been filmed well past their season, with faded grass and signs of autumn wear.
“We had to transform them into the kind of vibrant, larger-than-life arenas that Happy Gilmore deserves,” the company states.“Every aspect needed to be elevated: we added towering stage speakers, converted a plain backlot into a bustling festival environment, reshaped and revitalized fairways, layered in lush greenery, and refined the turf down to the last blade.To match that energy, we expanded the crowd exponentially — filling every seat, slope, and corner with fans hungry for the ultimate showdown.
The goal was clear: make Happy’s return feel less like a simple comeback and more like an iconic moment in sports.”
Dan Sarto is Publisher and Editor-in-Chief of Animation World Network.
Adam Sandler’s ‘Leo’: A Crotchety Old Lizard Helping Kids Be Kids
Scanline VFX Goes With the Grain on ‘Andor’ Season 2 Visual Effects
Scanline VFX Shares ‘Back in Action’ VFX Breakdown Reel
Scanline VFX Shares ‘American Primeval’ VFX Breakdown Reel
Scanline VFX Shares ‘Senna’ VFX Breakdown Reel
Scanline VFX Creates the Perfect Storm in Netflix’s ‘NYAD’
Scanline VFX Takes a Big Bite Out of ‘Meg 2: The Trench’
Scanline VFX Gets All Wrapped Up with ‘Stranger Things' Season 4
Scanline VFX Goes with the Flow on ‘The Batman’
