Ns1
No Lifer
- Jun 17, 2001
- 55,420
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holy fuck, interstellar CG used up 800 terabytes of data O_O I can't even imagine, 100 fucking hours for a single frame.
http://www.wired.com/2014/10/astrophysics-interstellar-black-hole/
I was super curious how they filmed those exterior space ship scenes. now I know
man Nolan your production techniques are fucking crazy.
Some individual frames took up to 100 hours to render, the computation overtaxed by the bendy bits of distortion caused by an Einsteinian effect called gravitational lensing. In the end the movie brushed up against 800 terabytes of data. “I thought we might cross the petabyte threshold on this one,” von Tunzelmann says.
http://www.wired.com/2014/10/astrophysics-interstellar-black-hole/
I was super curious how they filmed those exterior space ship scenes. now I know
Visual effects[edit]
The visual effects company Double Negative, which developed effects for Nolan's 2010 film Inception, worked on Interstellar.[50] Visual effects supervisor Paul Franklin said the number of effects in the film was not much greater than in Nolan's The Dark Knight Rises or Inception, but that for Interstellar, they created the effects first, so digital projectors could be used to display them behind the actors, rather than having the actors perform in front of green screens.[7]
The Ranger, Endurance, and Lander spacecraft were created using miniature effects by production designer Nathan Crowley in collaboration with effects company New Deal Studios, as opposed to using computer generated imagery, as Nolan felt they offered the best way to give the ships a tangible presence in space. Created through a combination of 3D printing and hand sculpting, the scale models earned the nickname "maxatures" by the crew due to their immense size; the 1/15th scale miniature of the Endurance module spanned 25 feet, while a pyrotechnic model of a portion of the craft was built at 1/5th scale. The Ranger and Lander miniatures spanned 46 and 50 feet, respectively. The miniatures were large enough for Hoyte van Hoytema to mount IMAX cameras directly onto the spacecraft, thus mimicking the look of NASA IMAX documentaries. The models were then attached to a six-axis gimbal on a motion control system that allowed an operator to manipulate their movements, which were filmed against background plates of space using VistaVision cameras on a smaller motion control rig.[51]
man Nolan your production techniques are fucking crazy.
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