“Bladerunner 2049” Vfx/CG/real/miniature/specialeffects

[sanghamithran]

Hi Master Roger,

Had revisited Bladerunner 2049 again lately after seeing a DGA interview where Christopher Nolan interviewing denis villenueve on Dune, where Nolan compliments denis on the film saying BR2049 was a great box office success actually rather than what production company had lead the film maker to believe. Saying it was a master piece for him. And while asking about some of the amazing blending and seamlessness of CG to live action in Dune. Villeneuve said he learned how to do that from A Master named Roger Deakins. The talk was amazing to here.

And the talk between Roger and James with Greig fraser also talked about using grey screens instead of blue or green screens and stuff. About blending live action and CG,was so informative to here about the process.

Master Roger I was amazed by certain shots done on BR2049, can you tell us how much part of these images are real and how much it is CG and the blending of them.

I can hear the rumbling sound of the flying cars and the sound of this film I must say equal to it’s imagery.

Thank you,

Master Roger.

Topic

[Roger Deakins]

The first image was done ‘in camera’. There may be a little extension to the set in the lower portion of the frame but it is basically there.

The second and third images are CGI. We shot exteriors of the spinners in various lighting and we did shoot some models, but it proved more cost effective and efficient to work in CGI and, besides this, we found we had more control over the look of the image. I think if there is one element of ‘BR2049’ that works it is the consistency of the CGI work with the live action.

[sanghamithran]

Great Master Roger,

1. I’m currently working as a virtual lighting and camera artist in a pre/post production facility, So the seamless movement from Live action to CG amazed me in bladerunner like no other, can you pls share your process in some length on lighting and shooting full CG scenes and compositing scenes that goes for CG background in your films, Rango is one of your finest work and I can’t see it any different than your CG work.
2. But here when I work on shots on films, most cinematographers don’t come much to the house to have control over their CG images and I find it a little depressing as I’ve learned from your Forum and everywhere you had given talks and interviews and Much similar like DP master Greig Fraser on maintaining and protecting the Dop’s work through any method of creating it for the film. wanting to do DP work on my own films is my ultimate aim also, I always hope for Dp’s to come in and do the CG lighting with the technical support of CG artists so it pretty much stays one vision. I try my best to match their live action work with references of live footage.
3. Master Roger can you share your way of working lighting and framing and everything as you do as a live action cinematographer, how that translates to any other form of imagery.
4. Always learning from you Master Roger.
5. Thank you for your time.

[sanghamithran]

(A little correction these lines, I can’t seem to edit it) can you pls share your process in some length on lighting and shooting full CG scenes and compositing scenes that goes for CG background in your films, Rango is one of your finest work and I can’t see it any different than your Live action work.

First time I watched  ‘Rango, it sure did felt like the man who shot ‘No country for old men’ and ‘true grit’ had shot this film. It was amazing to discover the signature personality on composition, movement and lighting.

[Author]

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