that is a little bit more difficult in the sense that his feet are flat on there, his legs are not really dangling, and his coat gets caught up on the rig quite a bit. so most of the time when you see doc oct, a full body frame of him or even main body frame of him, he is usually all cg from the neck down. and sometimes even had to reproduce his hair and put digital hair on him just to get a sense of motion that he s moving quickly forward or doing some kind of action that he wasn t really doing, so you get that wind blowing in his hour, you get the jacket moving properly, his legs dangling. and we always needed to keep realism and weight and speed and action going with that character. we did try and ground that in a lot of tom s performance or stunt performances when they re actually doing those things, and we enhanced them, but the base is usually either match move or motion
a full body frame of him or even main body frame of him, he is usually all cg from the neck down. and sometimes even had to reproduce his hair and put digital hair on him just to get a sense of motion that he s moving quickly forward or doing some kind of action that he wasn t really doing, so you get that wind blowing in his hair, you get the jacket moving properly, his legs dangling. and we always needed to keep realism and weight and speed and action going with that character. we did try and ground that in a lot of tom s performance or stunt performances when they re actually doing those things, and we enhanced them, but the base is usually either match move or motion capture of a real actor. and next will go behind the scenes of another big blockbuster as we continue down the roads oscar glory.
so we really weren t able to shoot anything on location in new york. we sent a small team there and they did some photographic reference, they had a couple of days in a helicopter where they shot some aerial footage for us, but the majority of the actual plate photography, with the real actors, was done in atlanta on a stage there. so they built like a 200 foot long piece of highway with real cars and that s where too holland and alfred molina were physically there fighting each other. we did have to then fill in the entire environment around that because it s a very small set. for the most part, tom was in his iron spider suit, so he s all cg, doctor oct has these big giant cg arms. and when they re fighting he s cg. and if they re throwing around cars or doing anything crazy, sometimes the entire frame is cg. so what we had to do was start with a scan and a lot of photographic reference of that environment and then, from that, build just a very accurate photo real representation of a
are carrying him. that is a little bit more difficult in the sense that his feet are flat on there, his legs are not really dangling, and his coat gets caught up on the rig quite a bit. so most of the time when you see doc oct, a full body frame of him or even main body frame of him, he is usually all cg from the neck down. and sometimes even had to reproduce his hair and put digital hair on him just to get a sense of motion that he s moving quickly forward or doing some kind of action that he wasn t really doing, so you get that wind blowing in his hour, you get the jacket moving properly, his legs dangling. and we always needed to keep realism and weight and speed and action going with that character. we did try and ground that in a lot of tom s performance or stunt performances when they re actually doing those things, and we enhanced them, but the base is usually either match move or motion
but the majority of the actual plate photography, with the real actors, was done in atlanta on a stage there. so they built like a 200 foot long piece of highway with real cars and that s where too holland and alfred molina were physically there fighting each other. we did have to then fill in the entire environment around that because it s a very small set. for the most part, tom was in his iron spider suit, so he s all cg, doctor oct has these big giant cg arms. and when they re fighting he s cg. and if they re throwing around cars or doing anything crazy, sometimes the entire frame is cg. so what we had to do was start with a scan and a lot of photographic reference of that environment and then, from that, build just a very accurate photo real representation of about three square miles of new york. the way we did it was we started with reference photography, we lined up maybe 10 15 angles from different parts of the bridge, looking out in different directions, and then we started ma