Take a behind the scenes look at the stunts and effects that went in 007′s twenty-fourth outing: Spectre.
For Sam Mendes’ Spectre, the newest film in the 007 franchise, the effects requirements were, as with previous Bond films, diverse and complicated. Buildings had to be destroyed, helicopters crashed, cars raced around Rome, planes landed in the snow and a major location blown to smithereens. fxguide spoke to special effects supervisor Chris Corbould, visual effects supervisor Steve Begg and other members of the VFX team about how those massive effects were pulled off.
The effect: After a lengthy continuous tracking shot following Bond (Daniel Craig) and a partner through Mexico City during a Day of the Dead festival parade, the secret agent attempts to take out assassin Marco Sciarra. Instead he causes an explosion that destroys the building that also topples down on top of him. Chasing Sciarra through the parade, Bond joins him on a waiting helicopter where a fist fight over Zócalo square occurs.
The opening one-shot sequence, and going into the helicopter fight, were some of the few shots previs’d for the film (by IO Entertainment). Begg used the previs to help the filmmakers work out how the passes – six in total – would marry up. “None of the elements were filmed motion control,” he says. “The end of the first pass had to be married up as best as we possibly can to the opening of the second pass. So I said to Sam and Hoyte van Hoytema, the DOP, whatever you commit to at the end of the first element you have to stick to that for the beginning of the second element, and then the second element has to match the same way. The previs helped a lot there. We’d previs the first segment coming to a halt and then we’d previs the second segment, and sometimes I’d get them to offset it slightly to show that if they do that and don’t follow through on the second segment these would be the problems you get.”
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Composer Gordy Haab explains his approach to creating the music for the game “Star Wars Battlefront” by analyzing John Williams’ original for both the original series and prequels.
Some of the first sounds you hear in “Star Wars Battlefront” are instantly recognizable. The exuberant brass notes strike a triumphant tone from John Williams’ signature score, welcoming players before any action has begun. Then things start to change.
Much of “Star Wars Battlefront” (the Dice-developed video game, released Tuesday for the PlayStation 4, Xbox One and PCs) boasts an original score from composer Gordy Haab. His mission: to re-create the sound of the original trilogy without out-and-out copying Williams. Throughout the game, 30-or-so second snippets of Williams’ music are inter-spliced with longer, newer works from Haab.
“The request for the sound of ‘Battlefront’ was to sound as though it was the B-side of the original trilogy soundtrack album — the lost tracks from John Williams that you didn’t get to hear,” Haab said last week. “My goal was to live very much in that world.”
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