The Miniature Wife: A Masterclass in Visual Illusion

In Manuel Gonzales’ 2013 short story “The Miniature Wife,” a woman undergoes a dramatic transformation after her husband accidentally shrinks her to the size of a coffee mug. This new perspective makes her physically vulnerable and complicates her ability to communicate with those around her. However, her diminutive size also forces her to discover an inner strength that surprises her husband.

The dynamics of their relationship are echoed in the new series adaptation of The Miniature Wife, featuring Elizabeth Banks and Matthew Macfadyen. The show deepens the characters’ arcs, exploring themes of tech bro chauvinism while delving into the wife’s inner thoughts. Like the original story, the series highlights how everyday objects can become menacing when viewed from a few inches tall. VFX supervisor Ashley Bernes was tasked with creating a world where ordinary items feel threatening.

Bernes and his team dedicated months to figuring out how to visually represent the show’s central concept in a way that balances fantasy with a touch of real-world physics. In a recent conversation, Bernes emphasized that while much of the show could have relied solely on green-screen technology, he believed a combination of practical effects and sophisticated VFX would enhance the project. To achieve this blend, effective communication among the creative teams was essential long before filming began.

“There’s no case where those things aren’t critical, but with a project like this, there is no ‘fix it in post’ because it just can’t work like that,” Bernes noted. “This is a show that has about 3,000 VFX shots, and we were working with up to five different VFX vendors at times.”

When Lindy Littlejohn (Banks) wakes up in a dollhouse after being shrunk by her husband Les (Macfadyen), her initial shock escalates as she steps into their full-sized living room. The soft carpet may seem inviting, but the height from the table to the floor is daunting, and she realizes a fall could be fatal.

To help viewers acclimate to the show’s blend of fantasy and dark humor, Bernes insisted that Lindy’s dollhouse be a fully realized set for Banks to interact with. While VFX would illustrate the size differences, he aimed to avoid a “CGI Fridays” feel.

“When we’re inside the dollhouse, that is a real set that we built based on the dimensions and specs of a real toy,” Bernes explained. “We actually scanned objects from a real dollhouse, scaled them up, and created life-size versions of these tiny items.”

Although The Miniature Wife is a dramedy, it features action-packed moments as Lindy escapes her dollhouse and navigates the larger world. She feels a rush of empowerment as she realizes her ability to climb down to the floor, but that excitement quickly turns to fear when she encounters everyday objects like houseflies and her vacuuming robot, which loom large from her tiny viewpoint.

Creating these shots presented challenges for Bernes and his team, who were determined to avoid simply replicating the vibes of films like Honey, I Shrunk the Kids and Marvel’s Ant-Man. They aimed to ensure that viewers could always grasp Lindy’s perspective, which required establishing clear artistic guidelines.

“We understand the premise that there is a miniaturization process that has happened, but how miniature is she?” Bernes clarified. “Ultimately, we landed on a scale of 12:1, meaning she is approximately 5.5-6 inches tall, and all of the props and sets adhered to this scale. This allows for recognizable details, like fabric weaves and oversized dust bunnies, while still being relatable.”

While the scale rule could be adjusted for dramatic moments, Bernes had to keep his work grounded in reality for action-heavy scenes, such as one where Lindy rides a toy train. He explained that sequences like this exemplify how digital and practical effects can merge to create visuals that feel both fantastical and physically plausible.

“The realities of this scale relationship mean that, in the big world of 1:1, moving a camera one foot translates to moving it 12 feet in the small world,” Bernes described. “Now picture yourself tracking with a train. We had to move hundreds of feet at the same speed as the big world, which means 12 times faster.”

Despite the extensive work involved in crafting each VFX shot, Bernes and his team opted not to use generative AI for efficiency. He acknowledged that while he has utilized AI tools in the past and recognizes their potential, he believes they cannot replace human creativity due to the complexity and control required in the process.

“Is generative AI a tool that enables us to rapidly prototype ideas and then go to a more traditional visual effects vendor with a clearer idea of what we want to do? For sure. But there is not a single VFX frame in this show that was made with generative AI. This is all the result of artists and hundreds of visual effects workers putting things together themselves.”

The Miniature Wife is set to premiere on April 9th.