The Colosseum itself was a marvel of digital effects crossed with practical production design, as the craftspeople at Mill Film created seamless computer-generated extensions for Arthur Max’s awe-inspiring set. Several of the shots Scott designed had to traverse the entire stadium, with the most impressive a 360-degree Steadicam move that followed the gladiators as they entered the arena for all of these moments, visual effects house Mill Film created digital fans who moved, gestured, and cheered like real extras. Where filmmakers of the past were forced to spend gargantuan amounts of time and money on crowd scenes that utilized thousands of extras, Scott was able to achieve epic scale by combining human actors with digital facsimiles, turning a couple thousand people into 70,000 computer-generated performers for the movie’s massive Colosseum sequences. In 2000, Ridley Scott revived the sword-and-sandals spectacle for a modern era by bringing cutting-edge digital technology to a genre that hadn’t graced American movie screens in decades (production supervised by John Nelson).
There was also an assortment of specialized magnesium flares, which traveled 170 feet every 22 seconds. The nighttime village chase included pyro work from a burning church (courtesy of 2,000 1K light fixtures rigged all around the building, thanks to legendary Oscar-winning cinematographer Roger Deakins). In addition, there were plenty of enhancements involving VFX and special effects. It required a unique collaboration in stitching together the sequences as one continuous shot. Production supervised by Guillaume Rocheron of MPC, the special effects and visual effects played an integral role by continually following the characters on their intense journey through the battlefields. It was especially surprising since its role was supporting. Sam Mendes’ single-shot World War I extravaganza pulled off a major upset by beating “The Lion King” for the VFX Oscar. The sheer size and scope of the world-building were enough to land New Line (“ Lord of the Rings” trilogy) another golden statue for VFX.
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The daemons were 3D animation created by Rhythm & Hues, guided by production visual effect supervisor Michael Fink, that had to crack animal-human interaction, fur movement and grooming, and a massive action scene centering on a bear fight. “The Golden Compass” had a visual effects challenge built into its story: a world in which each human has a personal daemon, in animal form, that is a physical representation of their souls.
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