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.
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 in cgi to look exactly like the trees that were there. we put snow on them digitally,