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“What Avery and the VFX team realized, though, is that they’d need to digitize not just each environment, but every moment.”
“Enter production VFX supervisor Guillaume Rocheron, who was part of the early camera tests in order to figure out how to take the guts of what Avery was designing and render it in a digital environment.”
“Rocheron and his team painted some samples of the sets with “ either ginger ale or seltzer water, I don’t remember which, and lit it in black light, and that gave him bioluminescent drips.”
“It was production designer Ramsey Avery, who was responsible for building a series of sets that couldn’t be easier to write into Final Draft, and couldn’t be harder to realize in real life.”
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“And by the way, sometimes there’s two cameras.”
“‘Whalefall’ ©20th Century Studios/Courtesy Everett Collection What Rocheron figured out was an infrared binocular camera that could attach to the other cameras that allowed him to capture a moving 3D scan of the set that matched every single shot.”