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One of the film’s most striking visual elements is the atmospheric lighting. You’ve got a certain idea as to how things will work, but it’s not until you’re actually there, with the actors, and you’re talking to the DP and you’re working with everybody else…that’s when the actual magic happens. It’s all about trying to work it out on the day. But, a lot of times he would deviate, and seeing Denis and Roger work, they’re very organic. The storyboards described the idea of the scene, and sometimes he would stick to those.
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“Now, on the day, sometimes Denis would change it up a little bit. Lambert notes, however, that director Denis Villeneuve and cinematographer Roger Deakins would often set aside the previs when it came time to shoot a scene. But yeah, we pretty much had a storyboard for all of our sequences.” We then shot plates in Mexico, and in post, completely destroyed those plates and built on top of them, adding sci-fi brutalism and that kind of thing. In the beginning of the movie, after K killed Sapper Morton and he flies off to the LAPD building, they prevised that whole sequence. There was a team from MPC that also did previs on a lot of the other sequences. If you look at some of the concept art and some of the sets which were built, they’re pretty close. Lambert explains, “Each one of the big visual effects sequences was story-boarded. On most of DNeg’s sequences, the team had storyboards and previs to work from. Hoover - spent six months on the film’s pre-production in Budapest as well as all the studio’s on-set sequences, before returning to Vancouver to oversee the work on approximately 350 visual effects shots.įor Blade Runner 2049, Lambert’s team focused on several main sets of sequences: Los Angeles cityscapes, the holographic Joi (played by Ana de Armas), her three-way sex scene integration with the prostitute Mariette (Mackenzie Davis) and K (Ryan Gosling), the giant Joi billboard, and the final act chase and crash. Lambert, who is part of the team nominated for Best Visual Effects at the upcoming 90th Academy Awards - alongside John Nelson, Gerd Nefzer and Richard R. VFX supervisor Paul Lambert and his team at effects house Double Negative helped create a beautiful holographic companion amidst the bleak and grey desolation of future Los Angeles in the sci-fi action adventure sequel to Ridley Scott’s 1982 film noir classic, Blade Runner. de Armas is a single generic Joi advertisement (though not the infamous billboard appearance at the end).‘Blade Runner 2049’ © 2017. Without Joi instigating, it felt more organic that way. I did rearrange Mackenzie Davis's replicant prostitute subplot to immediately follow meeting K. The audience has to infer a lot more of K's motivations and his existence becomes solely about his work and unraveling the mystery. It trims over 20 minutes from the film and makes for a more nihilistic sort of movie. The solution I came up with is to completely remove Joi (which it really does in the figurative and literal sense). As a sort of thought experiment, I wanted to make a tighter version.
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