It was a good example of how the Volume really worked and integrated the set that she was standing on. She was not surrounded by blue screening or greenscreen in that scenario. But then, as the process developed, we realized we needed to make it a sort of short, sharp action beat so that Kang's last-minute savior moment could be impactful. I think at one stage, there were more creatures than ended up being in there, and she did a bit more interaction with them. So we ended up with a stunt vis sequence. Michelle was fantastic, she did a lot of that stunt work herself, actually leaping off things. The stunt team that we worked with had put together some stunt vis to figure out blocking. It was actually a Volume situation as well, so there was a lot of the interactive lighting, etc. There was a lot of design of the cave-like area that she eventually ends up in, essentially an extension, but there was actually a lot more there. LAURA JENNINGS: That sequence was actually there. When you're cutting something like that, what elements are you using? You've got this cold open starting in the quantum realm, and it is so much VFX.
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