The cinematographer did a good job of trying to match but with light traveling through water it’s always going to look a little different. She was shot in totally different locations under totally different circumstances.
#LIGHTWAVE 3D V8 SKIN#
“One of the challenges there was getting the color of her skin to match. So we had to build it all in 3D, matching the skies and everything else that had been established,” says Hunt. “We were provided with a plate that was shot on blue screen underwater, it was high-speed with a lot of speed ramps, so we had to match their edit as well as match the practical set, which had already been established in earlier shots. The bulk of the work at SDM however was creating the scene with the oracle, who is kept in a permanently drug induced state from narcotic smoke billowing around her. Then I spit out a large sequence that went to the compositor Wayne Shepard, who put everything together in Inferno.” From there I was able to animate cloud movement and undulations so the matte paintings weren’t static and had some life to them. I used that to build layers in Photoshop and then brought that into Eyeon Digital Fusion compositing system as layers. “I added a lot of watercolor textures that I hand painted and scanned. “I started with photographic sky and cloud elements in Photoshop,” explains Hunt. If you read the Q&A with VFX art director Grant Freckelton, you know that the sky had to have a particular look combining photographic and painted elements. Shot all on greenscreen with the actor climbing a rock wall, SDM built extensive set extensions, the coffee-stained skies and enhanced what little there was of a the practical set including the flames from the torches. The first sequence follows the main character, King Leonidas, on his treacherous climb up a rocky mountain to the temple at the top. Of course opportunity is what you do with it. So when it came time to choose vendors to work on the film, a company as small as Screaming Death Monkey was granted the rare opportunity to work on a big budget film. Jeremy Hunt, owner/director of the boutique visual effects house Screaming Death Monkey had long known Chris Watts, the visual effects supervisor on 300. Handling Wet-for-Dry and Personified Smoke
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