Working closely with director Rupert Sanders, Wētā Workshop produced an extensive body of work for Ghost in the Shell, spanning conceptual design, prosthetics, animatronics, specialty costumes, props, on-set assistance and behind-the-scenes content. 

To conceptualise such a world, Wētā Workshop’s Design Studio — led by senior concept designer Leri Greer and art director Ben Hawker — generated over 2,000 designs, working in tandem with Rupert’ team: Production designer Jan Roelfs, visual effects supervisor Guillaume Rocheron, Los Angeles visual effects house The Mill, and concept designers Maciej Kuciara, Vitaly Bulgarov and Ash Thorp.

For the workshop, the translation of 2D designs into 3D reality involved an extraordinary level of technical skill. Under the supervision of production manager Danielle Prestidge, the artists and technicians of Wētā Workshop relished the challenge to fill this film with beautiful and intricate physical effects. 

Major’s thermoptic suit was one such effect, representing a creative benchmark for Wētā Workshop. Led by Jason and Kim Docherty and Flo Foxworthy, the crew devised an innovative way of using silicone — a notoriously difficult material to work with in costume — to achieve the final look. Completely smooth, the suit adheres to Major like a second skin, iconic panel lines imprinted into its surface. The result is a perfect example of the seamless hybrid between practical effects and design with visual effects enhancement. 

As principal photography ramped up at Wellington’s Stone Street Studios, Wētā Workshop on-set supervisor Joe Dunckley oversaw a contingent of workshop crew members as they assisted the film’s production team on costume, makeup, and practical effects. 

Rob Gillies, the Wētā Workshop supervisor responsible for masterminding the manufacturing on the floor, was brought on board to manage several sequences using the elaborate animatronic robot rigs built by the workshop for the film.