“We went up in the early morning, about 3am to a volcano and waited for the sun to come up, and then we shot four days of clouds up in the mountains.” The ultimate result were plates that could be stitched together in Nuke, with some edge clean-up and additional CG elements such as the destroyed moon, to 13K wide and 2K high images running as 20 minute clips. To acquire the necessary backgrounds, Mayer traveled to a Hawaiian mountain in January 2012. In this Oblivion featurette, the filmmakers discuss the use of projectors to light and provide backdrops for the sky tower. “We modified that rig for three EPIC cameras on it so that we had three times a 5K resolution to start with.” “That was three cameras rigged together which gave a 140 degree field of view angle,” he says. Pixomondo visual effects supervisor Bjorn Mayer had had experience with a multi-camera rig previously on Fast Five to shoot backgrounds and reflections for the cars. The effect may have been achieved in-camera but visual effects remained crucial in making the projections possible. I showed Joe and he said, ‘I want to project it and do as much as possible in-camera.’ And I loved that idea!” “I got a test model of the sky tower from production designer Darren Gilford,” says Barba, “and I was trying to figure out how would you put a process screen up to work with all these surfaces. The answer came in using in-camera projections from a multi-cam shoot – an idea embraced by the director, DOP, production design and visual effects teams who would all collaborate on the final result. Andrea Riseborough as Victoria in Oblivion.
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Since the tower rose to the level of the clouds and was almost completely made of glass and reflective materials, a major challenge arose of just how to film scenes with the actors for different times of day and without every shot requiring bluescreen. The sky towerĪ significant portion of the film takes place inside sky tower 49, where Jack and Victoria report back to military commander Sally stationed inside the Earth-orbiting Tet. And secondly, we helped in a system for projecting the backgrounds onto screen to have digital backgrounds in camera.” Previs for the sky tower and bubbleship by The Third Floor. Ultimately this work was canned for a real-time approach, but we did lay some groundwork. “For techvis, we helped in two major areas: programming the gimbal rig that simulates the hero vehicle in the movie. “In the end, we touched around 25 scenes in the film for previs and the majority of scenes in the film for postvis,” says previsualization supervisor Nick Markel.
The Third Floor delivered previs, postvis and techvis work, also working hand-in-hand with the art department in imagining assets, since some were built in 3D and could more easily be translated into previs. Helping to flesh out the look and feel of Oblivion were production designer Darren Gilford and supervising art director Kevin Ishioka. wp-content/uploads/2013/04/Oblivion_interrogation.mp4
It was a joke, but he laughed! We ended up pushing him closer to Morgan Freeman in order for him to have this interaction of light off of Tom and just giving him that factional light reflected onto Morgan.” I think I called Tom the most expensive bounce card I’ve ever used. “Some people might think it’s post on that shot,” says Miranda, “but you’ll see Tom in the reflection of his glasses, and that’s real. In one lowlit scene, where Jack meets Beech (Morgan Freeman), the F65 proved incredibly useful to show Jack lit up in Beech’s glasses as he lights a cigar. I felt like the F65 was perfect for this one.” Director Joseph Kosinski and DOP Claudio Miranda, ASC on the set of Oblivion.Īlthough the futuristic setting of course required extensive CG creations, Miranda pushed for as many scenes as possible to be realized in camera (see the sky tower discussion below) and capitalize on the features of the F65. I feel like every camera has their movie. “We liked that idea and I’ve worked with this director on the Sony F35 and Joe liked that sensibility of what that camera could do for this movie.
“There was something about capturing Iceland in that kind of resolution that I thought it would be really beneficial,” says Miranda of the F65.
Miranda chose the Sony F65 for Oblivion, shooting in Louisiana and Iceland with Master Primes and Fuji Premier zooms. The DOP won an Oscar this year for Ang Lee’s Life of Pi. Oblivion is Kosinski’s second feature film collaboration with cinematographer Claudio Miranda, after Legacy. For more on Oblivion, listen to Mike Seymour’s fxpodcast with DOP Claudio Miranda and visual effects supervisor Eric Barba.
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