Sean Walker: There was also a third set where we had an actual Mi-8 helicopter rigged to a gimbal set.
Then we just placed our Gulag set at the base of that mountain.ī&a: Things really get gnarly when the helicopter arrives-what were the different methodologies there for showing the crew in the helicopter and Natasha being towed? What were the different ways, including digi-doubles, that you approached this work? The Marvel team went up there, they got photogrammetry of that entire mountain side and we recreated it in CG. We didn’t end up using any of the actual footage itself, but we did use the literal place in Svalbard as our environment and set, so the mountains you see in the background are literal mountains that exist in that world. All of that snow was obviously practical.įor everything beyond that, they did go to Svalbard in Norway, where they took a lot of footage. It was scorching hot, all these poor people and extras all wearing full-on Tundra jackets. It was 38 degrees Celsius in London at the time. They just absolutely covered the set in it. First, the snow in the Gulag itself was all done with salt, just Epsom salts. There were a couple of aspects to the snow. So it ended up being a lot of roto and a lot of digital replacement in the end.ī&a: Were there any kind of real snowy environments that they could shoot as background plates or reference plates?
The set was highly, highly detailed and there was a lot of cage work and not much bluescreen coverage. They built a portion of that bridge and a portion, just the corner, of the tower at one end of it. There was also a fragmented set where you see Natasha fighting on the bridge. And from there up, we built everything digitally. From the ground to maybe a storey and a half up, they built physically except for one half of it. At Pinewood Studios, they have the tank lot, which is basically this huge circular water tank, which they repurposed for a huge circular silo. Sean Walker: For the environment itself, the idea was that it was an old abandoned, industrial complex set out on the middle of nowhere that they had reconstructed to be a prison cell. befores & afters spoke to Weta Digital visual effects supervisor Sean Walker about the chopper, prison break, avalanche and CG pig work.ī&a: For the prison break, what was actually built for this location? That’s speed in waiting.Weta Digital was behind the visual effects required to help orchestrate this series of events. (Trying to maintain the front knee in its address position, as some people advocate, is about the dumbest thing I’ve ever heard, and you’ll hurt yourself trying.) The lead leg should turn in toward the ball to allow the whole body to load up. Another Nicklaus lesson we’ve been working on is turning the front leg and knee in and toward the ball more on the backswing.
It was Jack Nicklaus who said that first you learn speed, then you learn how to control it. Danny feels if he can swing the club at almost 130 mph while warming up, he can handle 117 or 118 on the course, which is where he’s at now, up from 109- 110 when we started working together. Why? He wants to get his speed up beforehand to better control a slower speed during the round. The crazy-looking drill pictured at right is called the “Helicopter.” Danny (1) takes the club up directly vertical, over his head, then (2) around his body, and then he just swings out of his shoes. He has two gears of speed- but can also skip straight past a third gear into fourth, which he just calls “really long.” He does a lot of speed drills before tourney rounds. DANNY LEE is a fascinating, hilarious guy.
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