PRODUCTION PERCY JACKSON
IT’S HARD TO TELL THE DIFFERENCE BETWEEN the volume and reality ”
THE STUFF OF LEGEND The team relied on virtual production techniques to bring impossible scenes to life
interiors of the Met were done on a volume, with barely any touch-ups in post; something I am extremely proud of.” The Minotaur sequence, a defining moment in Percy’s personal journey, also relied on virtual production. “The background was created on a volume with the ILM team over a month and a half,” recalls Gill. “We used real rain, but VFX added a lot to make it look better. The actual Minotaur was – most of the time – a stunt person running on stilts around Percy. It was amazing to watch. Then, VFX erased it and replaced it with a computer-generated Minotaur.” Working with an LED volume proved worthwhile for several reasons; the main one being that ‘you see what you shoot’, giving both cast and crew a more immersive filming experience. “Another advantage is being able to shoot places that would be hard to do on location, like the Met exteriors and interiors, which are incredibly popular, touristy spots in New York City,” explains Gill. “The volume gave us the ability to shoot in the middle of the
day, making the schedule easier.” This was especially useful when working with minors, who are already scarce on time. The final product is a show that’s part virtual and part practical. For Gill, this was often a difficult balance to strike. “The ILM team were incredibly helpful; they created tools that allowed me to manipulate the position of the sun and other elements,” he details. “I had a lot of conversations with them and the showrunners about what was possible. There are moments where it’s hard to tell the difference between volume and reality, which is what we wanted.” PROMETHEAN PRACTICALS In the first two episodes alone, many scenes occur at night, lit by campfire or car headlights. “I love a light source in my shots,” Gill comments, arguing that practicals prove ‘less artificial and more realistic’. For instance, headlights illuminate the Minotaur, ‘helping the volume disappear into the background’.
Another example is the fire ablaze in the Montauk cottage where Percy and his mother Sally (Virginia Kull) go after he’s kicked out of school. “Sally talks with Percy about him being a demigod,” Gill explains – a life-changing conversation that begins to clue Percy in to the strange things he’s been experiencing. “The fire creates a cosier and more intimate atmosphere by ‘polluting’ the lens and introducing more warmth,” which suits the moment between mother and son. “Overall, I tried to implement as much practical light as possible to ensure that the images felt completely grounded,” Gill summarises. cover the content from first novel, The Lightning Thief , early reviews have been overwhelmingly positive, with audience viewership hitting 13.3 million (in its first six days) for episode 1 alone. “I don’t think I fully realised just how popular the books were,” confesses Gill. “But it was a nice new challenge. “I am impressed by the actors. All QUEST COMPLETED Although the debut series will only three – Walker, Aryan and Leah – did an incredible job every day,” Gill enthuses. “I can’t wait for the audience to see more.” Percy Jackson and the Olympians is now streaming on Disney+
46
DEFINITIONMAGAZINE.COM
Powered by FlippingBook