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He decides to show it at his school's science class presentation. Some months later a massive fireball crashes into the water near Liberty Island. It is revealed to be a spaceship which resembles a human Eddie Murphycontrolled by tiny humanoid aliens. Its Captain also played by Murphy pilots the spaceship from the command deck located in its head, with the help of his second-in-command Number 2 Ed Helmsand researcher Number 3 Gabrielle Union. The spaceship looks very human, and displays numerous superpowers, but the aliens don't know how to make the "ship" act like a human.

A superstitious cop named Dooley Scott Caan desperately searches for the alien. The aliens need to save their planet, Nil, from an energy crisis. They need salt, which they plan to take by draining the Earth's oceans using the metal ball, so they have to recover the ball. He tells them his name is Dave Ming Chang, based on a quick scan of common Earth names. At Gina's home the crew see their missing ball in a photograph taken at the science presentation.

After having breakfast with Gina, "Dave" goes to Josh's school where he pretends to be a substitute teacher and eventually is able to talk to Josh alone. Josh tells him that the ball was taken from him by a bully Nicholas Berman.

With Josh's help, Dave takes the metal ball back from the bully. The Captain via Dave spends some time with Josh and Gina and realizes that humans are more advanced than they originally thought.

The crew observes humans displaying feelings and love, such as witnessing Gina's painting or a homeless man offering to share his blanket with Dave when he sleeps in a doorway.

The Captain decides to cancel the plan to drain the oceans because it would destroy life on Earth. The police track Dave down using the impression of his face found in the dirt at the crash site and they arrest him.

After spending so much time on Earth, most of the crew begin to exhibit new "feelings", adopting Earth's culture, mannerisms and general laid-back attitude.

Number 2 decides that the Captain and the rest of the crew's changing behavior is unacceptable and takes command of the "ship", imprisoning the Captain. Under Number 2's command, Dave breaks out of the police station and another attempt is made to arrest him. Number 3, who has become infatuated with the Captain, becomes jealous of Gina. She first cooperates in the command change but later agrees with the Captain's view on humans. Both are caught by Number 2 and they are expelled from the spaceship.

The shot sharing was done with utmost professional courtesy throughout. How did you coordinate the work with the supervisors at these various facilities?

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What online tools did you use, if any? Although we worked entirely with L. That saved us hours in traffic each day. How detailed was the previs work for this film? Their supervisor was Chris Edwards, one of the principals in the company. They did a great job in interpreting the storyboards and developing the sequences creatively.

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They then gave me clear layout sheets for the technical requirements of shooting plates. It seems as though a lot of roto, compositing and matchmove work was required for this film. Although these vfx seem very broad, was it tricky to solve problems of scale correct? This was indeed a show that entailed more composite work than CG work, so the vfx teams faced huge roto tasks.

I found my past experiences in miniature effects helped me understand the scale problems on an instinctive level as well as a technical level. I knew we would face problems getting the cameras into positions on our New York City background plates that would allow us to shoot all the angles that our director Brian Robbins and our Director of Photography Clark Mathis wanted to use when shooting Eddie Murphy and Gabrielle Union.

Brian's and Clark's challenge to me was to let them shoot Eddie as if he was a normal-sized actor, including normal, slightly low angles up to their faces for their medium shots and their close-ups. This meant the plate camera would be half-buried in the street in Times Square to get the lens low enough to find the technically correct matching angle. In Times Square, this was not an option. So that limited the snorkel lenses we could use that would satisfy Clark's demand for resolution.

We shot the Times Square plates and any other plates that required a snorkel with the T-Rex lens system. The lens barrels on that system are all around three inches in diameter, so we had to cheat a lot to make the audience feel we were low enough to make the scale of Eddie's and Gabrielle's characters feel right.

To do that, we used a number of little tricks of forced perspective to help the shots along, both as we shot them and as we comped them. The director also wanted to extend our depth of focus in the scenes so that the backgrounds would suggest more of a colorful sensory overload to help convey the alienation that our tiny characters felt.

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That took away another of the tools we normally use to convey the feeling of macro-photography -- shallow depth of focus.

This became a problem as we were finalizing the sequences. It was a tricky balance to find the amount of depth blur needed to sell the scale of the characters, and still give Brian Robbins the deep-focus worldview he wanted. You've worked as a visual effects supervisor in the past for companies like Digital Domain and Sony and had your own facility, Stetson Visual Services, but you worked on Meet Dave as an independent visual effects supervisor.

How long have you been independent? Since starting with Digital Domain inI have migrated back and forth between the vfx company-side vfx supervisor role, and the production-side vfx supervisor role. I feel very fortunate to do both.

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My last vfx studio job was with Sony Pictures Imageworks in When I'm on the production side, I get the satisfaction of working closely with the creative team of filmmakers. When I'm on the vfx-studio side, I get the satisfaction of working closely with the artists who are actually finishing the shots.

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There are comparable frustrations and rewards on both sides. It seems that more and more experienced people are able to do that. Do you see a trend?

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There is often a need for a vfx supervisor to look after the needs of a production, as well as one to look after the needs of the vfx studio. In my personal ideal world, I liked the old system of having one vfx studio serve a production with the one supervisor assigned to the show. Even before those days, however, that production model was the exception, not the rule.

The film industry has evolved with shorter post-production turnarounds and far more visual effects shots e. The Fifth Element had shots; Superman Returns had 1,! So more than one vfx studio is more often needed to complete even a medium-sized vfx assignment. That's the scenario in which a production-side supervisor is often required.

How has your network of colleagues influenced the projects you have taken on in your career? I consider myself extremely lucky. The Motion Picture as my mentors. Having fallen into visual effects work 30 years ago, I get a chance to renew friendships and business relationships on just about every show I work on. I also get to meet new people and make new friends.