Though most of what appears in Matt Reeves’ The Batman looks practical, a new VFX video pulls back the curtain on the DC film’s stunning visual effects.
A new VFX video shows how The Batman was able to bring his gritty, atmospheric Gotham City to life thanks to the increasingly popular set The Volume. Upon its release earlier this year The Batman was acclaimed by many critics for creating a dark, modern, and visually stunning Gotham City. Matt Reeves was the latest director to remake DC’s famous Batman, and with his film he aspired to create a down-to-earth version of the character that was separate from the DCEU. The Batman has won over fans and critics alike and a sequel is already in the works.
The Volume, first used to film Disney+ The Mandalorian, is a fairly new technology that shoots on a soundstage almost entirely surrounded by LED panel screens and a ceiling. It is most commonly used in place of a green screen. The main benefit of The Volume is that because it’s digital, it can respond to camera movement on set, adjusting lighting, perspective, or the overall image within the panels while filming. Many replicas of The Volume have been built for other film and television productions around the world, including recent ones Thor: Love and Thunder.
In their latest video, The Corridor Crew and Academy Award-nominated visual effects supervisor Joe Farrell explain how The Volume was used to create some of these The Batmanthe main scenes. They specifically look at the emotional rooftop confrontation between Batman (Robert Pattinson) and Catwoman (Zoë Kravitz) and explains that the entire Gotham cityscape was created on a soundstage using The Volume. However, they also note that the ominous reflections on both characters’ suits and faces were likely created by illuminating each actor with real studio lights behind and above them, in addition to The Volume’s LED lights. Farrell also explains how much work goes into making sure the virtual reality shown by The Volume is spot on before filming:
“To achieve that [set] which runs on the game engine working in real time, it takes three months for a team of 20 people to work on it. The problem is, when you create it, it has to be appropriate for the camera that day. If you didn’t get it right for the day, you can’t change it because it’s built in. So let’s say you’ve noticed, “Oh, the building has changed.” Well, you’ve burned it in, and now you need to roto erase it. You’ve spent an enormous amount of money getting to this stage with The Volume and now you have to repeat it.
It’s hard to believe that The Volume has only been used for a few years (and on a remarkably small number of productions) simply because of the realistic effect it creates when done well. criticism of The BatmanThe visual effects of were sparse when the film was released, which makes the revelation that parts of it were shot digitally all the more impressive compared to practically. Even significant parts of the chase between Batman and the Penguin (Colin Farrell), one of the most intense and complicated moments of the film from a technical point of view, were completed with The Volume. With all of that in mind, Reeves’ possibilities are truly endless for the upcoming sequel.
Most of the time, practically shot films look better. That is, Reeves and the Visual Effects Supervisors of The Batman have proven that going digital doesn’t have to mean sacrificing quality. Not only that, but time and care (and apparently The Volume) can even cause audiences to completely forget the fact that they’re looking at something almost entirely created by a computer. Due to the coronavirus pandemic, The Batman Filmed over 18 months, and that doesn’t include the months of post-production that continued to make the film the visual spectacle it has become. Although longer than expected, no one can deny that it has produced impressive results. If the sequel is even remotely similar to its predecessor, Reeves and his team can take a long time to complete.
Next: The Batman has already set up the comic book-accurate costumes for the sequels
Source: The Corridor Crew
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