Issue link: https://digital.copcomm.com/i/78511
Miami, working within a three-block area. The setting had to be a "con- densed" version of the real location, with landmarks such as The Whiskey, Tower Records and the Venus Club all appearing within a block or two of each other. "We were all painfully aware of [needing] to make an abridged ver- sion of the real locations," notes Barton. In some cases, the relation from one location to another didn't accurately reflect the true proximity of the real locations, but Barton says it didn't need to. Instead, the goal was to create a seamless feel, where the viewer would get the impression the locations were all near one another. "We did do some minor work to some of the buildings," he recalls, "like adding the extra roof top to The Whisky." Signage was also added. Barton estimates that the first block the viewer sees is practi- cal, but that everything beyond that is CG. That included removing a nearby freeway, the Miami skyline and other architecture. The Hollywood sign, where lead characters Sherrie and Drew go on their first date, was actually recreated on-set in half scale. The view of the city was a combination of high-res photography and CG. Digital Domain also performed considerable crowd duplication for the performance sequences of Tom Cruise as Stacee Jaxx, making the 1,000 extras look like three to four times that amount. The studio also created the stylized arena in which the show takes place, using LA's Dodger Stadium as a reference. Nuke was used heavily for the crowd scenes. The studio also used Autodesk Maya for 3D geometry and set extensions, along with V-Ray for rendering. Pyrotechnics — both smoke and fire — were enhanced using Side Effects' Houdini. "We probably did two and a half times the number of shots that we signed up for, " Barton estimates. Pre- production planning helped keep costs from spiraling out of control. In addi- tion, it helped make sure as much of the creative ended up on the screen. The Digital Domain team consist- ed of approximately 20 artists in Venice, along with another 70 in Florida, along with partner facilities in London and India. The New Standard in Dailies ...and it's backed by Technicolor expertise that will go on location wherever your project takes you ™ The new standard in premium dailies processing, Global Dailies generated by FrameLogic™ is our state-of-the-art service for a comprehensive file-based dailies solution. We deploy our Technicolor expertise with each system near your set- anywhere in the world. Please call Dan Lion for more information: 323.817.6932 technicolor.com