![]() It was all of us imagining blood,” said Tiffany Boone, whose character is at the centre of the scene. (It should also be noted that I am a horror junkie, and am not hypersensitive to extreme violence or gore on-screen.) It could be because the rest of the movie is so “safe” that this stood out, but it’s definitely something you don’t want your children to see. One scene, however, is so jarring and disgusting it left its mark on my psyche. Warning: There is a shocking, blood-filled sceneįor the most part, The Midnight Sky is not a graphic, violent movie. Throughout the film, I had nagging flashbacks to Ad Astra, the 2019 space movie starring Clooney’s buddy, Brad Pitt. These scenes of levity are fun in that they don’t seem far off surely holo-friends or holo-family will become reality in the next decade. Not dissimilar from Star Trek‘s Holodeck, the crew can engage with their loved ones, albeit in scripted, pre-programmed scenarios. All of these elements were simple and elegant, designed to support but not distract from the performances of the actors.In order to maintain sanity, the astronauts are able to summon holograms of their family and friends. A dimensional map table, an interactive chart of the solar system, and a game to entertain crew members. One Of Us also created other holographic tech aboard the Aether and in Augustine’s Arctic base. This also required precision in comp, and a great deal of creative input, particularly in the otherworldly palette. This sequence combined plates shot in La Palma, with Digital Matte Painting and many CG elements. The challenge was to choose which laws of nature to obey and which to break. Everything about this environment had to be coherent and credible, but utterly alien. It then progresses through a ravine, its sides covered with unearthly plants, which then opens out to a field, and beyond that a plain, mountains, and the sky dominated by the parent planet. It begins tight in on scientist Sully (Felicity Jones) taking samples from a stream. The Jovian moon of K23 needed to be seen at different scales. We are proud of this collaboration with Clooney, Matt Kasmir, and with the team at Netflix, and delighted to see the success of this visually rich and affecting piece.” VFX is often called upon to create spectacle, so it is an exciting design challenge to find an abstract way to evoke emotion. Most of this treatment was created in comp, and was tailored shot by shot, to catch the nuances of performance. The family holograms were a key element for Clooney, Cubbage explains the creative process, “they required a look which conveyed the melancholy of separation, and so the tech is imperfect – like the crumpled photograph in your wallet. Working with them in post – although remotely of course – was a blast.” They were huge creative collaborators and Oli and his team produced one of George’s favourite sequences – the living memory holograms. Kasmir commented on the partnership, “I have always loved the creative style One Of Us brings to its work, so I knew I had to get them on board from the beginning. Close up green screen shots were filmed in a studio with Felicity Jones, who played Sully, as she was far enough along in her pregnancy to not be able to travel. Accompanied by some subtle production designed plants and using a stand-in actor, they filmed the plates that would provide the backbone of the K23 dream sequence. The beautiful, alien looking landscape of La Palma provided a perfect backdrop to build upon to realise this new world. Oliver Cubbage led the One Of US team, and worked closely with Kasmir and Clooney.Ĭubbage travelled with Kasmir to the island of La Palma to film the background plates for the K23 environment. These ranged from the epic to the intimate: from huge vistas of K23, a human friendly moon of Jupiter, to the holographic family life which serves to comfort the crew of the Aether. Visual Effects Supervisor, Matt Kasmir brought One Of Us on board to deal with some of the more design-intensive aspects of the project. In his attempt to contact the spaceship Aether, returning from a mission in search of a habitable world, Augustine must trek from his Arctic base through a radioactive ice storm to a weather station. Portraying two parallel journeys of survival, Clooney plays Augustine, the last man on a dying Earth, himself stricken with terminal cancer. This is Soho based VFX studio, One of Us’ work on George Clooney’s post-apocalyptic sci-fi series, The Midnight Sky for Netflix.
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