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Environment that is in broad daylight with two hero characters fighting. shooting did take place during the middle of the pandemic, 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 an ....
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 capture of a real actor. ....
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 matching that with our cg environment and just every day we would enter it three, four, five times and get closer and closer to the real thing. at the end of the day i think we had something like 500 unique assets, you know, ....
70 cars, we had to build a traffic system to drive cars around in the background, so that that would give life back there, we had a crowd system for characters, actual human beings walking around in the background, and then, at render time, when all of that is being brought in, it probably had 30 billion polygons or something are being rendered in any given shot. alfred molina, he is on basically this platform that they can float around to give him height and move him around like the legs 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 ....
A traffic system to drive cars around in the background, so that that would give life back there, we had a crowd system for characters, actual human beings walking around in the background, and then, at render time, when all of that is being brought in, it probably had 30 billion polygons or something are being rendered in any given shot. alfred molina, he is on basically this platform that they can float around to give him height and move him around like the legs 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 ....