SUPERMÁN: "Man Of Steel"-"Batman V Superman" de SNYDER

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Re: SUPERMÁN: "Man Of Steel"-"Batman V Superman" de SNYDER

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- Batman v Superman Interviews: Versus Everything (Rotten Tomatoes):

- Batman v Superman Interviews: Amy Adams (Rotten Tomatoes):

- Batman v Superman Interviews: Ben Affleck (Rotten Tomatoes):

- Batman v Superman Interviews: President (Rotten Tomatoes):

- Batman v Superman Interviews: Laurence Fishburne (Rotten Tomatoes):

- Batman v Superman Interviews: Henry Cavill (Rotten Tomatoes):


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- Interview Holly Hunter BATMAN V SUPERMAN: DAWN OF JUSTICE (kinowetter):

- Interview Jeremy Irons BATMAN V SUPERMAN: DAWN OF JUSTICE (kinowetter):

- Interview Jesse Eisenberg BATMAN V SUPERMAN: DAWN OF JUSTICE (kinowetter):

- Interview Amy Adams BATMAN V SUPERMAN: DAWN OF JUSTICE (kinowetter):

- Interview Gal Gadot BATMAN V SUPERMAN: DAWN OF JUSTICE (kinowetter):

- Interview Zack Snyder BATMAN V SUPERMAN: DAWN OF JUSTICE (kinowetter):

- Interview Ben Affleck & Henry Cavill BATMAN V SUPERMAN: DAWN OF JUSTICE (kinowetter):


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Re: SUPERMÁN: "Man Of Steel"-"Batman V Superman" de SNYDER

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- Henry Cavill talks with Harkins Behind the Screens! (Harkins Theatres):

- Batman v Superman Preview (Harkins Theatres):



- Henry Cavill - Batman v Superman | exclusive interview (MoviemaniacsDE):

- Ben Affleck - Batman v Superman | exclusive interview (MoviemaniacsDE):

- Zack Snyder on the idea of Batman v Superman (MoviemaniacsDE):


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Re: SUPERMÁN: "Man Of Steel"-"Batman V Superman" de SNYDER

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- Nuevas imágenes de "Batman V Superman" del libro "Batman v Superman: Dawn of Justice: The Art of the Film":

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Podéis comprarlo AQUÍ:

http://www.amazon.com/Batman-Superman-D ... 1783297492


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- Fotos del elenco de "Batman V Superman" para la revista "People Magazine":

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- Fotos de Gal Gadot para "L.A Times":

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- Fotos de la 'Trinity' para "USA Today":

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- "ShortList Magazine":

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- Zack Snyder revela el papel para el que quería originalmente a Jesse Eisenberg:
Durante las entrevistas promocionales de "Batman V Superman" supimos que Zack Snyder inicialmente le ofreció a Jesse Eisenberg un papel distinto al de Lex Luthor, aunque el actor no quiso desvelar qué papel le ofrecieron en un primer momento.

Ahora, el director Zack Snyder ha revelado durante una entrevista con la revista EW que ese papel no era otro más que el de 'Jimmy Olsen'.

Así es, aunque no lo parezaca, Jimmy Olsen sale en la película. Es el fotógrafo que sale justo al principio en África con Lois Lane. No tiene un gran papel, porque le disparan en la cabeza justo después de que lo veamos por primera vez. En la versión extendida, que saldrá en Blue-Ray este verano, Olsen se presenta con su nombre completo a Lois Lane, aunque esa escena no la vemos en la película del cine, tan sólo sabemos que es un fotógrafo sin más.

“Pensé, que si iba a ser Jesse Eisenberg y salía y decía, ‘Soy Jimmy Olsen,’ dirías, oh Dios mío, vamos a tener a Jimmy Olsen en toda la película, ¿verdad?’” dice Snyder. “Y entonces si le disparaban, diríais, ‘¿¡Qué!? No puedes hacer eso.’”

Snyder y su mujer, la productora Deborah Synder, se reunieron con Eisenberg para darle la idea del cameo. “Dije, ‘Quiero hacer esto para jugar al despiste y estarías genial. Serías un gran Jimmy Olsen,’” dice el director. “Y me dijo, ‘Sí, eso es genial,’ y estuvo muy Jesse en la entrevista. Introvertido pero constantemente diciendo, ‘Ok, ya veo, uh-huh. Así es que es una especie de redirecciòn de la cultura-pop, lo que vas a haer, por un cierto estatus de un actor…”

A medida que Eisenberg pensaba en voz alta con rápidas irrupciones, Snyder vio al nervioso y tintineante joven actor y empezó a pensar en echarse atrás con la oferta de Jimmy Olsen. Después de que se fuera de la reunión, Snyder se volvió hacia su mujer y le dijo: “Estaba como, ‘Wow, este chico está loco… Debbie, ¿qué me dices de Jesse como Lex?”


Podéis leer la entrevista al completo:

http://www.ew.com/article/2016/03/25/ba ... immy-olsen


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- Amy Adams interview on "The Tonight Show with Jimmy Fallon":


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- Nuevos Concep-Arts oficiales de "Batman V Superman":

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- Posters de Mondo de ‪"Batman V Superman‬: Dawn of Justice‬":

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- Zack Snyder sobre el final de "Batman V Superman" y cómo enlaza con la "Justice League":
Zack Snyder ha hablado sobre el final de "Batman V Superman" y cómo una de las razones más importantes para escoger precisamente ese desenlace fue para dar una razón para la formación de la "Justice League":
“Fue bastante pronto, y [Christopher] Nolan y yo tuvimos una larga conversación sobre ello, una realmente genial y filosófica conversación al respecto. Fue realmente genial porque él jugó al abogado del diablo sobre el por qué no hacerlo, y al final fue un , ‘No tienes razón, es mejor hacerlo’”.

“El estudio estaba como, ‘¿Qué?’ Y yo, ‘Sí, pero, ¿qué me decís de que llame a la película Dawn of Justice?’, y dijeron ‘Ok, ok, Me gusta lo qie estás haciendo. Veo lo que estás haciendo.’”
"Me parecía que teníamos que matar a Superman en la película para ser coherentes con la historia"- explica Snyder - "Pero eso no quiere decir que esté muerto para siempre".

“Pensé que para la evolución del personaje de Superman, hay una encrucijada a través de la cual tiene que pasar para realmente abrazar su humanidad o descubrir cuál es la última cosa sobre el ser humano. La última cosa a la que te enfrentas es tu mortalidad, y eso es algo que pienso que es realmente guay sobre esto.”
“Teníamos una versión de la que hablamos en la que [Superman] tan sólo—esto no es, pero en donde era congelado y lanzado al espacio o algo, así es que se ha ido. Porque una de las cosas de las que quería asegurarme cuando nos metiéramos en la Justice League, es que Bruce Wayne fuera el que reuniera a la Justice League. Pensé que era realmente importante el que Bruce Wayne fuera el samurai que va y encuentra al otro samurai, eso para mí era importante. Y con Superman alrededor es difícil, porque Superman es Superman así es que es difícil para Bruce el decir, ‘Sí quiero reunir a la Justice League’. Es como, ‘Ok, pero quizá Superman debería estar haciendo esto. Eres tan sólo un tío. Eres un tío guay, no me malinterpretes, pero eres tan sólo un tío.’”

“Con Superman cerca hubiera sido muy diferente, porque eso hubiera coaccionado a los héroes y todos hubieran dicho "Sí, bueno.. me uno", Pero me gusta más la premisa de Bruce Wayne en solitario iniciando la busqueda de los siete Samurais. Por otro lado, no tener a Superman de inicio en la Liga, concede al equipo cierta vulnerabilidad. Superman es el Michael Jordan de los héroes, y sin él, la Liga deberá de esforzarse en ganar sin su jugador franquicia”.

“Voy a decir esto: en el momento en que haces la primera parte, la muerte y resurrección son la misma cosa de una extraña manera. Tienes que saberlo. La razón por la que quería hecerlo de la manera en que lo hicimos es porque no quiero que la audiencia se libre completamente de ello. Tienen que seguir diciendo, ‘¿Qué demonios? ¿Me estás tomando el pelo?. Hay una manera de señalar un concepto más definitivo de la resurrección, pero no quería hacer eso porque quería que fuera real para ellos cuando lo vieran, quería que la experiencia fuera real y que luego del tipo de necesidad que sea real más adelante. Es suficiente con decir que hay un plan, pero va a ser—necesitas esperar y verlo.”

http://collider.com/batman-v-superman-e ... ce-league/?


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Re: SUPERMÁN: "Man Of Steel"-"Batman V Superman" de SNYDER

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- Producer Charles Roven on ‘Batman v Superman’, ‘Wonder Woman’ and Test Screening (Collider):


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- "Batman V Superman" Deleted scene "Communion":


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- "BATMAN VS SUPERMAN" Zod Body BTS ADI:


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- El Fotógrafo del Set Clay Enos habla sobre BvS y la vida en la periferia del negocio del Blockbuster (playboy):
El Fotógrafo del Set Clay Enos habla sobre BvS y la vida en la periferia del negocio del Blockbuster
Por Bryan Reesman 06 Abril, 2016


Clay Enos has a geek’s dream gig: He shoots superheroes for a living. The veteran photographer has been working with director Zack Snyder since his 2009 movie Watchmen (which led to Enos’ book Watchmen Portraits) and has been set photographer for most of his movies since, including Sucker Punch, 300: Rise Of An Empire, Man Of Steel and Batman v Superman: Dawn Of Justice. He’s also captured set images for the upcoming DC Comics movies Suicide Squad and Wonder Woman.

Clay’s work extends to mere mortals as well. He has been a set photographer for more intimate movies like Rob Reiner’s And So It Goes, and since 2000 his Streetstudio project has allowed him to photograph over 20,000 people in the street from London to Bangkok to NYC. But his work on high-profile Warner Bros. projects has led him into some unusual on-set experiences that indicate how the rise of the green screen has radically changed the way that movies are created.

He spoke to Playboy.com about how he handles shooting in virtual environments, his approach to photographing actors at work and his global travels.

Being a set photographer is not what it used to be. What challenges does green screen create for you?
I think the main concern is always, What is the moment being portrayed? And not getting too distracted by the fact that there’s a green hue on [the actors] or there’s nothing behind them. Then you sort of pick and choose. If it’s just some chitchat on another planet, you might just let it go. Or if it is something dramatic like a fight between Batman and Superman, then you shoot everything regardless. The next step you would do is try to put some set piece behind them so when they do in fact go to build the finished product you’ve kind of given them a chance. For sure I did that on 300: Rise Of An Empire. That whole movie was done in stages. There are lots of sea battles. So you just look for good set pieces to put behind them by finding the right angle and then carrying on.

Is it easier being on location or in the studio with green screen?
It depends. When you’re out and about, there can be green screen but it’s usually a set extension, so the majority of what you’re dealing with is real. Then at the end of the road, when you can imagine the city goes on forever, they throw up a green screen. I think Aircover Inflatables won a technical Academy Award this year for these giant inflatable green screens [the Airwall]. They can move them in, blow them up not unlike one of those party jumping castles, and it just happens to be a green screen.

It sounds like a big float.
In a sense. They can unroll it in, fill it up with air, and it’s a giant green screen. We definitely used those on Suicide Squad where we had fairly limited time to get in and out of downtown Toronto city streets in the middle of the night. There’s no way you could bring a bunch of riggers days ahead of time to put up a giant scaffolding, create the green screen, and then take it down. You come in, unfurl it, blow it up, and have a green screen. It’s pretty impressive, and you can understand why they won an Academy Award because that really does change what’s possible.

Blue screens were used in the original Superman movie and was groundbreaking at the time. Now green is the predominant color, but they occasionally still use blue. Why?
We had a scene the other day where there was some vegetation, and the real object in the foreground was green. Let’s say the Joker’s hair doesn’t do green screen very well. So you have to really consider that, depending upon what kind of green screen or what you’re going to replace.

Of the three leads in Batman v Superman—Henry Cavill, Ben Affleck, and Gal Godot—who was the easiest to shoot?
It’s hard to say. Gal is so beautiful and strong and awesome. She’s a ton of fun and she’s new to the genre of superhero films. But then Henry is the spitting image of the Superman that you have in your head. It’s crazy. When he’s got his cape on and he’s in full costume, you’re shooting Superman. The only other male icon that’s in your head for your whole life is Santa Claus. And then Batman is a giant, hulking awesomeness of dark who presents challenges because his costume is dark. He’s also so awesome that you let it go. On some level it’s just a chin for Ben as Batman. But what a chin it is.

You’ve worked with Zack for nearly a decade now. To what do you credit your long association?
There’s nobody like Zack Snyder. He is so effervescent and talented, and he inspires everyone who works around him to do their best. I’ve just been trying to do that, and he recognizes and appreciates it. It’s family at this point. Hollywood is a fickle friend, so I won’t presume to always work for him, but wouldn’t that be great if I could? I work my ass off just like he does. We love what we’re doing. I’ve come around to it a little slower. He’s always known what he wanted to do before college. I had no idea what set photography was, and after Watchmen I thought, “Man, I’ll never do that again.” But sure enough, I figured it out a little better and now I’ve got it down to where I am not killing myself every day to get the job done.

How did you meet Zack? Had you known him before you worked on Watchmen?
No. His wife Debbie was one of the producers. We went to college together, then they started dating and eventually got married. I visited the set of the first 300, and that was the first time we’d actually met. Of course, it was on that set that I saw there was a photographer and saw this incredible thing that was happening before me, and I was curious. Long story short, they gave me a shot with Watchmen, and it’s worked ever since. I recognize and can see from their perspective all of the assets that they need to gather. Since I love making photographs of any sort, I’m their guy to gather them. There’s not a lot of ego attached when I’m shooting the floor of a set that will become the pedestal for a 1/6 scale toy. Some photographers are maybe above that, but I kind of dig that. That’s awesome. This is my medium, and it’s being used in ways I couldn’t imagine.

My dad is a Nikon man. I am a Nikon man. You were a Nikon man, and then you switched over to Sony. How dare you! What happened?
For one thing, Sony makes a completely silent camera so I can shoot on set without a blimp, which is liberating to say the least. Also, Sony makes smarter cameras than Nikon. Nikon have gotten lazy and are overpriced. I can buy two Sonys for the price of one Nikon, and I have the entire frame which I focus anywhere with facial recognition, better tracking focus. It’s really quite something.

Film or digital?
Digital. My R II units are 43 megapixels. I don’t shoot film, but it would be a novelty. It’s not practical for anything other than the artsy stuff.

You do have a lot of non-movie photos up on your website, including some Asian travels and some candid nightclub shots. I’m not sure where the latter were shot.
Some are Coyote Ugly. Some of those are fancy parties too.

What’s the secret to taking photographs of people who are potentially very fucked up and could sue you later for running their photo?
Some of that is it’s just a public arena. A lot of places where I was shooting had disclaimers that says you may be photographed. I also don’t feel like I’m jeopardizing identities to some extent. There’s a little bit of all of us in those things, so I don’t get too hung up on it. Maybe down the line someone might say, “Hey, isn’t that person now the president of…?” Maybe. Guess what? [chuckles] Nobody’s doing anything there that’s illegal. It’s youthful exuberance. It’s having a good time as we define it. There’s nothing to be ashamed of, so I’m okay with it.

What’s the most unusual gig you’ve ever gotten?
Hitchhiking through Burundi to get from Rwanda to Tanzania to shoot coffee. That was for a coffee importer in Portland. I had an amazing time. And also just recently volunteering for Ben Affleck’s charity in eastern Congo. We met up and shot former child soldiers who were being retrained with skills and reintegrated into society. That was magnificent and just an incredible part of the world.

If Playboy offered you a gig to shoot some hot models, would you take it?
I’m not sure I could. That’s a really specific genre. I don’t know. I’d rather go do some reportage for them. I’m much more somebody who finds an image the way it is with the slightest of manipulations. I’m not the biggest constructor of images. I have no aversion to doing so, of course, but I’m not sure I’m qualified.

As a set photographer, you have to make yourself invisible at times. Is there a trick to that, especially if someone’s having a bad day or moment?
I would generally step away. I know that they’re not making a still photography project; it’s a movie. But that rarely happens. Maybe it’s the way Zack runs the show, but there isn’t a lot of that. Sometimes if it’s a sensitive scene or highly emotional and I’m asked to step away, I don’t take it personally. I just know that they need that to focus.



http://www.playboy.com/articles/clay-en ... uperheroes


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Re: SUPERMÁN: "Man Of Steel"-"Batman V Superman" de SNYDER

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- Batman V Superman: Dawn of Justice VFX Breakdown:


- Imágenes con y sin efectos visuales:

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- Entrevista con el supervisor de efectos visuales Guillaume Rocheron:
In 2014, Guillaume Rocheron talked to us about the work of MPC on GODZILLA. He explains today about his work on BATMAN V SUPERMAN which is his third collaboration with director Zack Snyder and VFX Supervisor John DJ Des Jardin.

What was the approach of director Zack Snyder about the VFX on this show?
This movie and universe are grounded in the real world, so Zack captured as much as possible practically, probably more than he ever did before. There were a lot of sets, stunts, locations and practical effects. In order to create the largest possible canvas, Zack shot on both 35mm film and IMAX, for some of the key sequences. It was an exciting opportunity to create such iconic imagery on the best large format available. Zack is very well versed in VFX and his relationship with his long term visual effects supervisor, DJ Desjardin, allowed him to trust and embrace the process. After all, this is Batman v Superman so VFX plays a central role in telling the story of these characters.

What was it like to work with VFX Supervisor John Des Jardin?
This was the 3rd movie I worked on with DJ, who is long time collaborator of Zack’s. Our relationship was fluid and collaborative and DJ’s guidance helped us realize Zack’s distinct vision of the characters and universe. DJ and I started to discuss the project a few weeks after MAN OF STEEL was released and we got involved as the script was being shaped up in the following months.

What are the sequences made by MPC?
Our biggest assignments were the actual fight between Batman and Superman in the 2nd act and the Gotham Battle, featuring Batman, Superman, Wonder Woman and Doomsday, in the 3rd, final act. The IMAX resolution required that we push the technology and quality of our digital doubles further than we ever did before, which was an exciting challenge. We also created the new Gotham City, which was a vast complex digital environment that required months of planning and detailed mapping. We also had the fun project of introducing Flash and Cyborg in brief sequences.

How did you upgrade the Superman and Batman digital doubles?
Batman, in his Mech-Suit, and Superman were complex digital characters to create because they both had to hold up perfectly at IMAX resolution during their title fight sequence. We used both digi-doubles extensively, at times up to full frame on their faces. We went to great length in order to capture as much information as possible for each actor. GentleGiant gave us the ability to make multiple Lighstage face expression scans at very high resolution. Mova scans were captured for additional blendshapes and transitions. We also used what we called the ShandyCam, a custom made portable 6 DSLR rig. It was a fast and efficient way to grab synchronized photos of the actors on a shot per shot basis to feed our expression library.

or some all CG scenes, we recorded the actors’ performances with a helmet mounted camera with tracking markers on their face. Dan Zelcs and his rigging team developed new tools and techniques allowing us to maximize the use of all the real world data we had captured. It was the key to not only make good looking digital characters, but to maintain the likeness to the actors at all time. We updated our renderer to Renderman RIS, which dramatically improved the quality and accuracy of our shading and rendering.

The fight scenes constantly switch from real to digital actors, sometime transitioning back and forth multiple times within the same shot. The new rendering system gave us the opportunity to accurately simulate and replicate Larry Fong’s lighting on skin, hair, eyes and costumes.

Can you explain in details about the design and the creation of Doomsday?
We started from a clay maquette that Patrick Tatopoulos and Jordu Schell created for Zack. Because in the film, Doomsday is created out of the Genesys Chamber from Zod’s body, the idea was to explore how the gene transformation is all about efficiency. It expands the body to extreme physical abilities, with little regard to the resulting aesthetic. This resulted into a pretty anamorphous creature with every bone, tendons and muscles expanded to their maximum capabilities. MPC’s art department then created high resolution conceptual drawing and 3d models based on the original maquette, in order to refine the transformation of each body part but still maintain some aspects of the original comic book design.

We built 2 versions of Doomsday: the newborn version was smaller and not fully developed while the fully formed version, as Doomsday builds up its strength in the film, was much bigger with every inch of his body developed beyond their maximum capabilities.
Doomsday, in its final form, had a body that expanded so much that his skin was cracked open in places, exposing tendons and muscles which presented a real challenge for us. Generally a CG character is only built at high resolution on the outside and proxy muscles, tendons and fat layers are used for simulation purposes only. In this case, we had to build everything up to the skeleton in a renderable way because the cracked skin and extruded bones exposed a lot of the underlying anatomy.

Can you tell us more about its animation?
Ryan Watson, the fight choreographer from Damon Caro’s stunt team, played Doomsday for us. He did perform every shot with a performance capture suit so we could recreate the body language and fighting style he had developed. Even though Doomsday is not a talking character, we captured his facial performance at the same time so we could always base the animation on Ryan’s translation of the character. As we did for the digital doubles, we scanned a full library of facial expression that we could then remap onto our Doomsday face.

The fight involves a lot of FX and destructions. Can you tell us more about that and especially with the use of Kali?
Early on in the final battle, Doomsday unleashes a giant burst of energy over the Gotham port, transforming the terrain of the 2 miles radius area into black streaky rocks, inspired by the dry lava fields in Hawaii, covered of debris, smoke and fire. This new environment was a tremendous layout and rendering challenge, because each shot contained hundreds of ground sections, destroyed street props along with volumetric fire and smoke fluid caches.

In order to create photo-real images, the key for me was to be able to produce coherently lit shots, with each fire sources producing accurate illumination spatially onto the environment and characters, with the correct intensity, falloff and color. This meant we needed all the burning fire and smoke to be 3d fluid simulations so we could use them as volumetric light sources instead of just using 2d elements. Because of their speed, most of our characters could cover a lot of terrain in a single shot so having all the lighting move correctly over them as they move through space worked to great effect.

Our asset team created a kit of tileable 10 meters wide ground rock sections, with different type of spike size and orientation that were assembled to create and compose the ground coverage for each shot. We also generated a large library of crushed street props, cars, debris and building chunks that was then distributed over the ground to add chaos and complexity. We developed new tools so our layout artists could place and distribute the fire and smoke fluid caches in the same way we did with standard 3d assets. It was crucial that we could design the environments in each shot with composition and lighting in mind as everything was tightly integrated together.

Then add rendering the undestroyed part of Gotham, the characters and the effects… Again, I don’t think we could have rendered such complex shots in such an integrated way even a few months before we started the project so it was a really great breakthrough for our team and for the look of the shots.

How did you created the huge environment of Gotham?
The beauty and the challenge of urban development is that each city is the product of centuries of development and progress. We approached Gotham with this complexity in mind. The risk in creating Gotham from scratch was that it would feel too generic and over designed for a city supposedly charged with history. I suggested that it would be more convincing to create the base of Gotham using large sections of existing cities that had complementary architecture and layouts and build our own features on top.

We scouted locations in Detroit and New York, and eventually came up with a cohesive design that maintained their organic features and layout. As a first step, we used Google Earth to measure and define the assembly of the various pieces. We then went on helicopter and street level shoots and captured thousands of photos of Manhattan Hell’s Kitchen, Detroit’s oil refinery, abandoned city areas, train station and port. A lot of the existing architecture was modified to make it into Gotham City but we kept the footprint of the city.

We took those thousands of photos and put them through our photogrammetry pipeline to create massive amount of geometry and textures for each city section. This technique ensured that each building, each street and each city feature was completely unique without repetition. This approach was only made possible with the update to Renderman RIS, which is capable of rendering mass amounts of data and lights instead of relying on repeated assets. This all required a tight collaboration between our assets, environment, layout and lighting teams in order to support the thousands of assets that we rendered in each shot.

On MAN OF STEEL, you created the Envirocam. Have you enhanced this process?
For the Batman v Superman fight, we made extensive use of our Envirocam technique that we originally developed for MAN OF STEEL, to capture the real locations in the correct lighting in order to create complete pre-lit 2.5D environments. With those sets re-created, we had complete freedom to position and move our virtual camera in order to create all CG shots or transitions from real shots to CG environment and characters. Compared to previous films we used the technique on, the IMAX resolution required major improvements on the precision of the photo calibration and geometric details we were re-creating to support the photo projections.

What was the main challenge on this show?
As described above, the hero digital doubles at IMAX resolution and the end battle environment were our biggest challenges on the project.

What do you keep from this experience?
A movie with Batman and Superman together for the first time, it doesn’t really get much better than that in terms of having a chance to create iconic comic book imagery. Zack is an incredibly talented visual director, which made it always challenging and rewarding at the same time.

Was there a shot or sequence that prevented you from sleep?
I didn’t loose sleep over anything really but I will admit I slept much better after we successfully rendered our first full frame digital Superman shot and our first complete shot of the end battle!

How long have you worked on this film?
Shoot and pre-production for us were about 6 months long and post-production was 9 months so 15 months in total.

How many shots have you done?
Around 450.

What is your next project?
GHOST IN THE SHELL.

A big thanks for your time.



http://www.artofvfx.com/batman-v-superm ... visor-mpc/


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¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!

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