ABSTRACT
IC also had a team of excellent matte painters to create textures for multiple projections. The actors were roughly modeled to project back into 3D, and the main plate was required.
According to Molnar, “Most of my attention was focused on level of realism. I spent a few nights on the roof in Tokyo, just taking in the view, studying the skyline for details. One thing that became very noticeable was the reflections and the air traffic lights everywhere. The city was lit up like a Christmas tree.” Replicating that back at the studio was a priority. These elements would assist IC with selling the shot to the audience. They also supported the fact that location shooting needs to exist in some capacity in order to absorb the location to help recreate the reality.
