Ideally people shouldnt notice your signature on the shot. You hope that you are able to create moves and to light in a way that is totally sympathetic to the main unit director and cinematographer, so youre not going off on a tangent and start creating your own version. For Granell the key to seamless integration of the shots is to mimic what first unit is doing.
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To match the shots by the visual effects unit to the live-action, the team studied the footage and lighting, the placement of key-lights and practical lights, from sources such as windows and lamps. As dailies came in, Cinesite received tapes of the selected scenes as well as grading (color timing) clips. In pre-production, model unit director of photography, Nigel Stone talked with production director of photography, John Mathieson, to get the feel of the show. The miniatures footage was combined with the live-action footage to create the illusion of reality by continuing the live-action camera moves. Miniatures also helped create the dramatically inspired pullback from the Phantom perched between the wings of an angel sculpture on Opera Houses rooftop high into the sky. During a tight turn-around the same miniatures were repainted and damaged to show the ravages of time.
Plus, not only did the Opera House have to appear in beautiful pristine condition during its prime, but also in the ramshackle disrepair of its latter days. Every inch of the exterior façade had some form of architectural detailing gilding, elaborate sculptures, cornices and moldings. The greatest challenge in building the miniatures was the shear amount of detail. The things that suggest it to the industryyour peers look at a shot and they see that camera move is vast, so they know its probably not for real. Even looking at them yourself and its your own work, you wouldnt really know. Granell thinks that most audiences will fail to notice the miniature work. That was done primarily for the flame, debris and glass window elements that worked better at the larger size. For the ending, when the fire blows out the glazed windows, 1/4-scale window elements were match-moved and then were reduced down and tracked into the 12-scale model. There was a 1/4-scale chandelier that was used in the transformation of the chandelier from its damaged state back to its earlier glistening glory. A majority of the models were built at 12-scale. Miniatures were used to extend the building past the top of the columns.
An art department liaison served as model unit art director to keep continuity between the departments.įor the exterior shots, the art department in reality only built the square and entrance of the Opera House. Working out of the Cinesite Shepperton facility, model supervisor Jose Granell collaborated once again with production designer Anthony Pratt to accomplish the director and designers vision. They were also used to create a chandelier element using both the real and miniature chandeliers for the most violent swinging during the interior destruction. Visual effects were used to achieve the majestic exterior dimensions of the Opera House and its fiery destruction during the dramatic conclusion of the story. After the effects shots had been timed with lustre, they went to our inferno stations, where eight-10 artists worked on the effects simultaneously. It enabled us to control and maintain the director and director of photographys vision. With lustre, what you see is what you get on film.
We used lustre to time all the visual effects shots in The Phantom of the Opera, in order to create continuity. As a result, Asylum used the inferno system to composite the chandelier into necessary shots.ĭiscreets lustre system is the beating heart of our film workflow, McGuinness explained in a release. Phantom was shot in London with no studio being large enough to accommodate the 40-foot long falling chandelier the story required. for senior visual effects supervisor Nathan McGuiness, owner of post-production house Asylum in Santa Monica, California, which completed more than 150 shots for the film, including the breathtaking opening in which a postcard comes to life. David Jones supervised the work in the U.K. provided the bulk of the visual effects for the movie, including miniatures, tracking camera moves, compositing and rough previs. Ornate sets, lavish costuming, unforgettable musical performances, sweeping camera moves and subtle visual effects all contribute to the film experience. Director Joel Schumacher brings Andrew Lloyd Webbers haunting love story, Phantom of the Opera,to the screen with the grand scale and elaborate production values of a classic opera production.