“We could then take their head motion data and combine that onto our puppet so that the head motion would track perfectly with our digital asset, with our digital head motion. “We took Eyeline’s mesh and tried to incorporate that into our full-blown Black Adam digital double,” Stopsack remarks. Wētā took the process a step further to retain Johnson’s natural head motion. Once the cut started to settle down and we felt that we’ve got this sequence coming together, then we would turn over the shots to Method Studios or MPC, and they would execute all of the beautiful work that they did.”īUILDING A MIDDLE EASTERN CITY AND FLOATING A SUPERHERO FOR BLACK ADAM February 28,2023 What missiles they have remaining was a big thing, especially on the Tomcat because there are two Sidewinders.
We went through an extensive postvis process, so we worked very loose and fast. In those situations, I would work with our Visual Effects Editor Latham Robertson and pour through the material that we had captured and find different options for shots and background plates, get Joe to sign off on that or get him to choose what he wanted and go from there. We would come across shots that we had nothing for, and it might be just a storyboard. “The editing and going through all of this footage to try to put these shots together was a huge component. One of the essential collaborators was editor Eddie Hamilton and his team. “When you get to the training missions and the exterior camera mounts that Claudio Miranda engineered with the Navy to place real cameras on F-18s, that process of placing of real cameras on real aircraft was extended early on in the film to Darkstar, even though it was digital, and also later into the final battle – that was the DNA to what we were doing.” ” A certain amount of disbelief was required when it came to the camera mounts. “As you’re seeing our sequence unfold,” he continues, “the altitude that we’re conveying and the things that occur, the look of all that from a physical standpoint is based on the data that Lockheed Martin. All of this had to be created as a digital environment.” An emerging technology is a pivotal part of the Darkstar narrative.
“We were able to find amazing reference of weather balloons and SR-71 flights where cameras had been taken to those altitudes. The stratosphere had to be recreated, explains Tudhope.
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