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Obviously, those effects shots required a huge amount of work.
So how do you begin to plan all that out?
We got involved quite early on before the shoot.
So right away, we had an idea of what the bulk of the work was going to be.
I guess theres two types of shot, really.
Then well do some animation based on that.
Well show it to Len, and hell move the buildings around until we get something were happy with.
To highlight the action and things like that.
Which aspect is the most time consuming, would you say?
It depends on the shot.
It doesnt require any artistic input, so thats quite simple.
But the layout of the lighting stages theres a lot of artistry that goes into that.
Its not simply a case of taking assets of a city and dropping it into a shot.
On this movie, that was the most complex part the lighting.
Really, it was finding little details we could add to give it a sense of scale.
Is that something youre still finding new ways to achieve getting that sense of scale in CG landscapes?
I guess theres always a learning process.
Whenever were creating something, well always seek out real reference to base things on.
How closely did you work with the production designer Patrick Tatopoulos?
Was he quite hands-on in post-production?
So he gave the initial creative direction, and we took that and added the detail.
I think theres a lot of similarity.
The best thing about working on a Christopher Nolan movie is that he knows what he wants.
So there were a lot of similarities there.
It was great working with Len.
He was very collaborative, very open to ideas.
So it was a very creative process.
I think the biggest change the industrys going through at the moment is in the way we render images.
Its becoming much more physically realistic.
Sometimes its very successful, sometimes its less successful.
Members of the public talk about stuff looking CG.
I think well see new rendering techniques combating that.
A lot of the work we produce should lose that CG edge were always fighting to eliminate anyway.
So more organic looking, in a way?
Yeah, just more physically realistic in their lighting.
So its moving from something thats faking lighting, to something that looks like real lighting.
I was wondering too, what your thoughts were on 48fps, as weve seen recently inThe Hobbit.
I havent actually seen it yet, but Im really interested to see it.
A lot of people find it uncomfortable to watch for the first time, because its something new.
But I dont see that its any less valid as a framerate than 24fps.
I think it could be really interesting in the future.
I think, at the end of the day, it should come down to our creative choice.
How do you think HFR will affect your side of the industry?
Will it mean higher-resolution textures and things like that?
Its something well have to look at on a case-by-case basis.
If something is going to be HFR, you gotta take that into account when you model stuff.
So it will mean well have to put more detail into our models in some cases.
Graham Jack, thank you very much.
Total Recallis out on Blu-ray and DVD now.
