The High Line had probably the greatest complexity of any of the sequences within the film. Simulated travel can look fake and the solution is complex as we need to introduced shadows, reflections in the glass, the duco and the chrome. Then there is the problem of intercutting to live action shot outside and also intercutting fully CG shots.
For the action shots where we needed to see cars moving at speed we built a 200 metre solid green wall outdoors. Stunt supervisor Glenn Ruehland directed the unit and specialist stunt people drove and populated the street. The wall had to be versatile enough to dress all the way from Valley of the Ashes to the entrance of the bridge.
For close work we shot the cars against bluesceen. Leo and Joel did truly drive outside elsewhere in the film but not for this scene.
All cars were Lidar scanned and accurate 3d models made. This process was used because on every shot with Tobey and Leo sitting in the yellow Duesenberg against bluescreen, we would insert a brand new CG car around and behind them so that we could reflect the actual environment that they drove through. A lovely job completed by Animal Logic.
As always I would like to thank our internal SWAT team, Animal Logic, Rising Sun and Iloura in Australia, ILM in San Francisco and also Prime Focus and Method Vancouver. Congratulations to all who did such fabulous work on almost 1500 shots.
Many thanks to Baz, CM, Catherine Knapman, Chris DeFaria and Mark Brown - and of course Prue Fletcher and Joyce Cox. And thanks to Dan Le for putting the reels together.
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