Catching Bullets Full of Red
"There's a lot of gunshots in this one, but what makes it different is having Helen Mirren shooting a machine gun," Goux enthuses. "All audiences think that's the coolest thing."
But what separates CIS Vancouver's mayhem on Red are four shots involving -- you guessed it --the bullets. And although CIS Vancouver used Maya for 3D for the 220 shots, it relied heavily on Nuke for compositing, with Abel Milanes serving as CIS comp supervisor and Frederick Hoglin handling the more difficult shots.
"It's changed our production pipeline in that we're finding we're doing a lot more things in Nuke in CG using the power of its 3D capabilities," Goux confirms. "It's a nice little dynamic shift that we're seeing in these kinds of movies where we can get a lot more done in Nuke as far as 3D projections and manipulating 3D models and not having to go back to Maya at all.
In the first sequence, Willis drives in a police car with Mary-Louise Parker. It's a long shot, 15 seconds. The camera is inside the police car, slowly traveling from the back seat looking out the front window to the front dash, looking back out the rear. "This was a greenscreen shoot on a stage, but since it's a one-shot, getting the background plates of the city streets was the trick," Goux continues. "Jim [Madigan] filmed the background by setting up five cameras each offset by 35 degrees to encompass a full 180-degree field of view. It was our job to stitch these plates together seamlessly and match the camera move that was shot on the greenscreen stage."