And now for the final part of the Cinefex article.
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A rooftop POV of the
Dark Knight leaping to a bridge far below featured a digital matte
painting rendered in exaggerated perspective by Bob Scifo of WBIT. A
digital Batman and cape, along with fog and smoke effects, were then
composited into the background plate by PDI.
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At Two-Face's hideaway,
girlfriend Sugar (Drew Barrymore) experiences the Riddler's latest
device for stealing cerebral energy. Computer generated beams,
consisting of a core of animated particles, were created by CIS and
tracked into the live-action shot, along with a floating TV screen
which was color-balanced digitally.
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The Riddler treats
Two-Face to a jolt of stolen brain energy.
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Matte artist Syd Dutton
and cameraman Mark Sawicki of Illusion Arts prepare to shoot one of
the matte paintings created for the film. The scene — an
establishing shot of the Gotham Hippodrome where Batman first
encounters Robin performing in a circus act — was enhanced by
three-dimensional miniature statuary positioned in the foreground for
added depth.
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Modelmaker Smokey
Stover of Grant McCune Design completes work on a sixth-scale batwing
used in a climactic battle scene. Built by Stover and Edward Lawton,
the versatile plane was rigged to jettison its wings and convert
conveniently into a batsub upon submerging in water.
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A twelfth-scale batwing
hangs on a miniature section of the batcave wall.
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For an establishing
shot of the Riddler's Claw Island lair, a miniature set was built and
filmed motion control. Digital artists at CIS enhanced and composited
the multiple passes required for the shot, combining elements such as
lights, foreground and background smoke, layered laser effects and a
synthetic sky.
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With his cape deployed
like a parachute, Batman plummets six hundred feet in a breathtaking
dive from the rooftop of a Gotham hotel. PDI accomplished the action
digitally with a computer generated superhero and cape animated
utilizing high-resolution motion capture data from a performing
gymnast. The computer generated stuntman was then composited into
free-fall background footage
created digitally by WBIT.
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Modelmakers add
finishing touches to the ten-foot-tall Claw Island lair, setting for
a climactic confrontation between Batman and his nemeses. The
miniature set included welded steel columns representing an abandoned
factory and a giant brain wave collector fashioned from a pyrex glass
cone. Incoming energy waves captured by the collector would be
realized through digitally enhanced laser effects designed and shot
by Boyd Shermis and his team, then composited by CIS.
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Engineered at
MetroLight Studios, the bat signal was given a dimensional look by
distorting the digital cloud image onto which the computer generated
signal was projected to create a slight rippling effect. Lead
technical director Tomas Rosenfeldt, technical supervisor Jerry Weil
and supervising producer
John Folimer survey the results.
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A miniature constructed
by Grant McCune Design was used for an establishing shot of the
Arkham Asylum, where the Riddler is at last fittingly consigned.
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Great! The designing of the Wayne enterprises's building and specially the scene where Fred Stickley is killed reminds me of the british TV series ''Lexx''.
ReplyDeleteLexx is one of those series I keep meaning to watch. I should get on that.
DeleteAnd Stickley is played by Ed Begley Jr.
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