My worst fear is being lost. It’s like having your mind broken down to your most vulnerable, primitive state. As your will to live is stretched to its limits, your hope threatens to become the first casualty. Making matters worse, your paranoia leads a vicious mutiny against reason and logic. The truth is you’re trapped, and you might not know it until it’s too late.
In nature, moths have a peculiar fondness for bright lights, which usually ends in disaster for the curious insect. ‘Like a moth to a flame,’ is a phrase that poignantly warns one from pursuing a destructive path. It’s a nice saying. Unlike the poor moth that doesn’t know any better, a human being is quite capable of discerning right from wrong and, in doing so, can avert disaster. But what if a person can’t? What if they’re lost and the fire is burning closer? What if, like a moth, we’re the ones instinctively drawn to the fire?
Unless someone—or something—intervenes.
Mothra is a character I’ve come to appreciate the more I grow as a person. This should come as no surprise to anyone familiar with the character, because Mothra represents growth. Unlike her more destructive kaiju brethren, Mothra holds a unique place in the kaiju mythos by being a divinely inspired monster. She embodies light, rebirth, wisdom, and forgiveness. What I especially like about Mothra is how she defies conventionalism. She’s a monster that is loved—not feared—by her followers. How can that be? Doesn’t that challenge what a monster is? Yes, and that is what makes Mothra unique.
Ishiro Honda, who helped pioneer the kaiju genre as we know it, once said, “Monsters are tragic beings. They are born too tall, too strong, too heavy. They are not evil by choice.”
For decades, we’ve empathized with creatures who have, for better or ill, been demonized for the crime of not being human. This stems from a long-standing belief that humans have are the sole arbiters of morality. Mothra challenges this notion. And in doing so, she becomes a messenger, one that lights a path in the dark.
I’ve always been a sucker for behind-the-scenes content. So, if you’ve seen my film, Monster Sightings: Mothra Video, and you were wondering how I made it read on. If you have any questions, send me an email or drop me a comment on the video’s YouTube page.
Making this film was fun and challenging. I wanted to do this legendary character justice, and I hope I didn’t disappoint. As a filmmaker, I have one rule when I begin every new project: do something new. My first Monster Sightings video was one big scene. For this film, I wanted to film multiple scenes in a more natural environment. Since Mothra is a good monster, I thought I’d make Mother Nature the antagonist. With the air unbreathable and a wall of burning death closing in, my protagonist could use all the help he could get. While they don’t exactly make an appearance, the presence of the Shobijin are felt through Akira Ifukube’s classic melody Sacred Springs.
I filmed everything on my iPhone X, using the ProCam app, which allowed me to record in higher resolutions. This was crucial because not everything was shot as a video. Several key scenes were initially still images. With the higher resolution in play, I could revise the image in post-production to my liking. It’s easier to do visual effects on a still photograph than a moving picture. But what if you don’t want an entire movie full of still shots and images? Not to worry! Just add ‘camera movement’ in post-production. Red Giant has many nifty tools to help you do this.
Let’s take a look at some before-and-after screen comparisons.
For the opening scene, I wanted to have my cake and eat it, too. I tried striking a colorful balance between something dreadful (e.g., forest fire) and something hopeful (e.g., Mothra’s symbol). Speaking of Mothra’s symbol, during the making of this scene, I joked to my wife, “Think of it as the monster equivalent to Batman’s signal. Only instead of calling Batman for help, you’re calling for a giant moth. I don’t know which is better.”
The beautiful flame effects are compliments of ActionVFX. Highly recommended!
Cool fact: Mothra’s cocoon here is a prop. It’s an additional accessory to Revoltech’s Mothra release. All I did was carefully ‘cut’ its edges out in Adobe After Effects and then composited it into my scene. Add in a series of nifty effects to sell it and presto!
Initially, Mothra’s fairy moths had a more extended role. That didn’t turn out so well. Regardless, I liked how this turned out. I love how they served as guides for our protagonist to follow out of harm’s way. For those wondering, yes, this is the Revoltech Mothra.
During pre-production, this was the first scene I imagined doing. I was excited to do it! This is how I made it work: I flipped up the wing of my S.H. MonsterArts Mothra action figure while recording in front of my green screen studio. Then in post-production, I erased the green screen—using Red Giant’s fantastic software—and, well, see for yourself!
For this shot, I moved my S.H. MonsterArts Mothra in front of a green screen. I composited it over a still image of the footage and then, when the time was right, switched it to the live-action footage just in time for it to pan over after her.
This was a blink-and-you-will-totally-miss-it moment. So, here you go. And yes, Mothra would make a great firefighter.
Here’s my secret: the second image is a still of Mothra resting in front of my green screen. After removing the green screen, I made three duplicates: 1 of Mothra’s wingless body (I cut those out), 1 of Mothra’s left wing, and 1 of Mothra’s right wing. I combined them together and then added motion to the wings to simulate flight.
Be on the lookout for the next Monster Sightings video! Who do you want to see next? Help decide by sounding off in the comments section.