by the war in ukraine. and tyson fury will take on dillian whyte later, in what s expected to be one of the biggest all british heavyweight fights in boxing history. now on bbc news. click is in madrid, looking at whether vr can be used to help children manage chronic pain. this week, another chance to see if video games can play the pain away. the vfx that made bond make that bend, and there was this enterprising young fellow. in the shadow of battersea power station in london, the future of mankind hangs in the balance. our two heroes are on a desperate mission to save the earth from being wiped out by an asteroid. hang on, you re bashing some boxes around now. what s this? 0oh! 0h! 0k, well done. bit near. 0h! and quite frankly, they re being hopeless about it. do you want some nitrogen? can i throw it to you? 0k, i ve got no feet. yeah, throw it to me. all right. look, they you go. can i catch it? got it. 0k, well, what am i actually doing with it now? erm, i don t know.
and in order to do that, we simulated a cg world where the lighting was exactly the same. and then we used a number of techniques to copy and mimic what we were seeing in the computer. so rather than. we still used the photography and built on top of it rather than replacing it whole hog. but we used the simulation to tell us what that should look like. the director, cary fukunaga, is very keen to keep as much of the stuff that he had shot as he could. that included the people, that included the buildings, the trees even, but the trees didn t have snow on. so each tree had to be, particularly for the close up trees, it had to be modelled in cgi to look exactly like the trees that were there. we put snow on them digitally, but then lifted the digital snow off and put them on top of the real trees that were in the plate.
when you shoot throughout the day, the footage looks different from shot to shot. there was kind of one or maybe two shots, which everyone was happy with the lighting conditions. we had a task to try and match the lighting across all of the shots. and in order to do that, we simulated a cg world where the lighting was exactly the same. and then we used a number of techniques to copy and mimic what we were seeing in the computer. so rather than. we still used the photography and built on top of it rather than replacing it whole hog. but we used the simulation to tell us what that should look like. the director, cary fukunaga, is very keen to keep as much of the stuff that he had shot as he could. that included the people, that included the buildings, the trees even, but the trees didn t have snow on. so each tree had to be, particularly for the close up trees, it had to be modelled
across all of the shots. and in order to do that, we simulated a cg world where the lighting was exactly the same. and then we used a number of techniques to copy and mimic what we were seeing in the computer. so rather than. we still used the photography and built on top of it rather than replacing it whole hog. but we used the simulation to tell us what that should look like. the director, cary fukunaga, is very keen to keep as much of the stuff that he had shot as he could. that included the people, that included the buildings, the trees even, but the trees didn t have snow on. trees, it had to be modelled in cgi to look exactly like the trees that were there. we put snow on them digitally, but then lifted the digital snow off and put them on top of the real trees that
that included the buildings, the trees even, but the trees didn t have snow on. so each tree had to be, particularly for the close up trees, it had to be modelled in c6! to look exactly like the trees that were there. we put snow on them digitally, but then lifted the digital snow off and put them on top of the real trees that were in the plate. we had, you know, an amazing special effects team that really did, and stunt team, that really did jump land rovers through the air. and when we needed to replace things like that for lighting or for filling in the background, we kept exactly that stunt. so on a james bond film, no one really wants to resort to c6! stunts and things like that. so they really do capture everything in camera. but when they, for sort of timing reasons, they take a chunk out of the middle of a chase,