POST-PRODUCTION. BULLET TRAIN
WITH VFX
ON THE SET
THE REAL DEAL Plate footage of various Japanese backdrops had to be captured, as a reference for the many locations the titular train travels through. But replicating the view from a 300km/h Shinkansen in a manner that looks true to eagle-eyed viewers required plenty of skill
confirms Abou-Khazaal. “In the first part, you get really cool LED buildings as we’re passing in the train. As it goes on, we run through sunrise into the later morning.” LAND OF THE RISING SUN “LED screens were really successful for night scenes, due to the lower light output,” confirms James. “Once the sun rises, LED screens wouldn’t give the light needed for daylight, so we turned to green screen and full CG.”
work, there are quite a few advantages from being able to do almost all the VFX in DNEG’s pipeline,” says James. “We worked on everything from LED content in pre-production, to the final VFX. Anything that was generated for LED environments, such as CG cities, track assets and more, could easily be shared and used in our pipeline. So you don’t have multiple teams generating the same content. “That goes for post-visualisation, too. After production is complete, a director needs quick visuals on some of the most complex shots,” James continues. “Our DNEG Postvis team could use the same assets, then we would start in VFX from where they left off. “We have multiple studios around the globe, finding the right skill sets for what the job demands. Supervisors are dedicated specifically to communicating and sharing technical or creative “A director needs quick visuals on complex shots. DNEG Postvis could use the same assets, then we would start in VFX from where they left off”
information with each studio and team. All the work is still overseen by me and overall VFX supervisor Mike Brazelton, so there is a cohesive creative vision.” Coherence was essential, with DNEG responsible for nearly 900 VFX shots, plus over 200 of LED work. Aside from the sheer volume, the team faced further challenges with the looks required. “The aesthetic changes as the movie progresses. We start at night, then follow through to morning by the final act,”
WITH VFX
ON THE SET
BULLET TIME Acrobatic action from the actors is melded with explosive visual flourishes from the VFX team, resulting in set pieces that are thrilling and impressive all at once
66. DEFINITIONMAGAZINE.COM
Powered by FlippingBook