Originally Posted by wmcclain
Traps for the unwary! ... No, wait, you eluded the trap. Damn. Why do I even try?
This is one of my favorite films to demo flat screen TV's and projectors. The Slo-motion bullet impact chase in the forrest and the various explosions are a real test of image processing, color rendition and shadow resolution when comparing displays. The occasional sparkle of an explosion and several other high contrast shots will look really cool when this film is remastered in High Dynamic Range sometime in the future for UHD.
There was a great interview with Seth Maury in Art of VX back in January 2012 on the FX work that went into producing such memorable images. Here's some excerpts from the article:
"The forest footage was shot on a Phantom camera, upto approximately 2500 frames / second. The editor would take the raw footage and give us mockups of the retimes he wanted, which we would match to. For some of the shots where we punch in and out in the same shot, Chas used 2 Phantom cameras mounted side by side on a speed rail, one with a wide lens, and one with a longer lens, and then we again matched the mockups the editor created to mix between the plates and then we smoothed out those transitions in comp. In addition to the raw footage, Chas shot Phantom elements of mortar and dirt and trees exploding, that we then mixed into the plates, which already had some of those effects as practical special effects. We also had practical Phantom bluescreen elements of bullets hitting wood trees, some of which we used, and then we also created some cg bullets for some shots and augmented the destruction with the bluescreen tree elements. Our comp supervisor Mark Richardson handled a lot of these shots."
"One of the slo-mo shots in the forest involved an exploding cg tree, which we used Kali for. The shot went through exploration until we landed on the shot that’s in the movie, but we decided early on that we would simulate and render all of the frames so that we could do repos and retimes in comp to make the turnaround quicker. This meant that we were rendering thousands of frames, most of which were discarded once the retimes were applied. Shots that long usually have issues even if only because they are so resource intensive."
ART of VFX article