Frank Glencairn hat geschrieben: ↑
Do 09 Nov, 2017 14:48
"Am Schnitt der Holographie-Szene wurde anscheinend über fünf Monate gearbeitet."
Ich frag mich immer, ob eine Szene durch sowas wirklich besser wird, oder einfach nur anders.
Auf jeden Fall anders, denn sie haben zunächst eine irrsinnig aufwendige Version fertiggestellt, die dann aber irgendwie nicht funktionierte -- Zitat dazu aus dem langen Joe Walker Interview
"Before I go, one sequence we didn’t talk about is the Hologram Funhouse. That was a big deal in the cutting room, and probably the hardest and longest sequence to work on. This is the scene where Deckard traps K in the nightclub and flips a switch that summons a broken hologram show to life. To gauge the scale of the operation, on that scene alone there were 21 fine cuts, just of the pre-viz. That gave us a solid idea of music for playback and a template for Roger to design his lighting. Denis and the main unit then filmed the scene for real with Deckard and K, with Ben Thompson in the background as Elvis. They shot old-school without a motion control rig. Then we had a weekend to frantically fine cut this material and then break everything down again so that we could go back to set with the 2nd unit and shoot all the holograms: the Folies Bergere, Elvis’s band, Cowgirls, Gogo dancers, Liberace, Marilyn Monroe, you name it. We had to get it right because when you cut from one angle to the other, the dancers had to do their high kicks on exactly the same beat whilst staying in sync with lighting effects already shot by Roger. That’s a really complicated thing to achieve, technically. I ended up with dozens of video tracks running for each shot and my temp team set about creating more polished versions.
So when we got back to Los Angeles, soon after Thanksgiving 2016, we sat and watched the First Assembly. Denis said, everything is fantastic, it’s going to work, except one scene: the Hologram Funhouse. We’d been toiling on that on and off for six months so it was disappointing, but I knew he was right. Tonally it didn’t fit, it didn’t feel like Blade Runner. Denis’ point was that the last time Deckard met a Replicant, it was Roy Batty, who nearly killed him. So this should be full of fear and tension. A manhunt, not a variety act. Deckard turns on those holograms because it gives him an advantage, he knows where and when the light will fall. So Denis and I recut the scene to maximize this and we dumped a lot of the layers of holograms. Really great footage of pole dancers spinning down from the ceiling, all had to go."