So, we’re working on a bigger frame at a higher resolution. And the frame size is taller than the 5-perf, which is the general presentation ratio. Partly it’s a fall-back position, if we need them we know we’ve always got that.ī&a: Speaking of IMAX, how did the IMAX side of the shoot impact on your work?Īndrew Jackson: The resolution is higher, we’re working at 6-and-a-half K, so everything is done in higher resolution. There is one shot in particular, and it’s there in an IMAX frame, which is taller than the majority of the 5-perf presentation, where there are two full-CG helicopters really close to camera. I guess that would be an example where on another film you might assume that there would be much more CG work there, but it ended up really being largely in-camera. So really, the majority of the shots involving those Chinooks were real. We had four of them, re-painted them in the colors that we wanted and they carried real shipping containers around. But really, the vast majority of that ended up being the full-size Chinooks. We did film those, and we also did a couple of shots with CG Chinooks. We had Scott Fisher’s SFX department build miniatures that were great. It was actually a really sensible solution.ī&a: Were there other sequences in the film that perhaps ended up using something full-scale and practical that you might have thought would be miniatures or digital work?Īndrew Jackson: There’s a lot of Chinook action in the film towards the end, and we did approach that in various ways. It turns out that it was actually not a crazy expensive way of doing it, it was actually a really practical solution to buy an old wreck of a plane and go to the place where the plane was to film it. The place where we went had all the infrastructure for driving planes around. So, we didn’t have to move the plane anywhere. We cleaned it all up and then built a set there. So we bought an old plane that was never going to be used for anything else. But because of the way we arranged it-we went to the Victorville aeroplane graveyard where old planes go, like a wrecking yard. I mean, it’s a big shot to do a full CG plane and building destruction. But I think Chris actually came to the conclusion that it was probably not necessarily a lot more expensive to do practically. Pictures.ī&a: But I’m curious, did you go down the route of maybe considering that it could be a miniature shot, or a CG shot?Īndrew Jackson: Early on, we did look at those options. It really epitomizes literally how high that priority is to get everything in-camera. It was full-size 747 smashing into a set-built building, and all of the flames, all the collapsing, the jet bridge- everything is practical in-camera. The only effects work was some cable removals and there was a little bit of clean-up. That plane crashing into a building and exploding is almost all in-camera. What was involved with actually crashing a 747?Īndrew Jackson: I think that’s the best example of the lengths we go to with Chris’ films to do things practically. We do put an enormous amount of effort into finding ways of filming practical effects or miniatures or elements.ī&a: The plane sequence seems to highlight that the best. Obviously, we can pretty much do anything with CG these days if we absolutely need to but that will always be the last resort with Chris. A CG element comp’d into a practical background would be the third. Starting with full 100% in-camera effects, and then if we can’t achieve that, then maybe a 2D comp of filmed elements would be the second best option. There’s a sort of hierarchy of preference for him. But actually in the case of Chris Nolan’s films, he really, really does try and do that, doesn’t he?Īndrew Jackson: Yeah, absolutely. Jackson, who also worked on Nolan’s Dunkirk, and previously on Mad Max: Fury Road, was on board Tenet from the very early stages to research efforts for the way that certain shots could be brought to life, whether they be practical or with some digital intervention from DNEG, or both.ī&a: Sometimes, in other films, the filmmakers talk about using a lot of practical effects. To find out just how some of the biggest scenes, including the plane shot, a car crash, reversing bullets, a collapsing building, helicopters and a number of other forwards and backwards time moments were carried out, befores & afters spoke to visual effects supervisor Andrew Jackson, from DNEG.
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