![]() ![]() ![]() The filmmakers produced what is known as a synthetic lens flare, making the flare very akin to originally produced footage. To make the scene more realistic, the producers decided to shoot the entire scene again with a different camera so that it would travel according to the movement of the Titan. In Avengers: Infinity War (2018), the Titan sequence scenes were created using virtual cinematography. This makes the audience experience Spider-Man's perspective and heightens the sense of reality. Using motion capture camera radar, the cameraman moves simultaneously with the displayed animation. ![]() In Spider-Man 2 (2004), the filmmakers manipulated the cameras to make the audience feel as if they are swinging together with Spider-Man through New York City. Nonetheless, these scenes still managed to reach a high level of realism and made it difficult for the audience to notice that they were actually watching a shot created entirely by visual effects artists using 3D computer graphics tools. Bill Pope, the Director of Photography, used this tool in a much more subtle manner. Famous scenes that would have been impossible or exceedingly time-consuming to produce within the context of traditional cinematography include the burly brawl in The Matrix Reloaded (2003) where Neo fights up-to-100 Agent Smiths and the beginning of the final showdown in The Matrix Revolutions (2003), where Agent Smith's cheekbone gets punched in by Neo leaving the digital look-alike unharmed.įor The Matrix trilogy, the filmmakers relied heavily on virtual cinematography to attract audiences. Their work was based on Paul Debevec et al.'s findings on the acquisition and subsequent simulation of the reflectance field over the human face acquired using the simplest of light stages in 2000. The result of John Gaeta and his crew at ESC Entertainment's work was the creation of photo-realistic CGI versions of the performers, sets, and actions. The Matrix trilogy ( The Matrix, The Matrix Reloaded, and The Matrix Revolutions) used early Virtual Cinematography techniques to develop virtual "filming" of realistic computer-generated imagery. ![]() The term "virtual cinematography" emerged in 1999 when special effects artist John Gaeta and his team wanted to name the new cinematic technologies they had created. The film went on to garner numerous nominations and awards including the Academy Award for Best Visual Effects and the Art Directors Guild Award for Excellence in Production Design. The film's special effects team used actual building blueprints to generate scale wireframe models that were then used to generate the virtual world. 2.1 Virtual cinematography in post-productionĪn early example of a film integrating a virtual environment is the 1998 film, What Dreams May Come, starring Robin Williams. ![]()
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