00:00Damien wasn't really interested in trying to recreate like trying to
00:05redefine any new camera moves it was it was like he wanted to update what
00:12people had seen from the 60s and 70s so like we spent a lot of time in pre
00:18production trying to work out how exactly we would do this and and I we
00:23came up with the idea of the LED screen we came up with the idea of using
00:29miniatures and special effects and and obviously using CG because like we were
00:34going to the moon so so like we would have to be using CG so like we spent
00:40three months actually talking about this and and like we did various tests and
00:44like the idea was that depending on depending on the type of shot is like how
00:51we would define what type of approach we would we would use to like try and keep
01:00the the effect to be as realistic as possible yeah when I first met with
01:08Damien I read the script and it felt very much like a document that we were trying
01:12to create of this event so I drew some storyboards out thinking well if we were
01:17really going to shoot this in space we'd only be able to put the camera on the
01:20spaceship or through a window we'd never be able to put the camera someplace you
01:23couldn't actually do it if you were not in space and when Damien met with me he
01:28said you know I want this to feel like a documentary and I want to make sure that
01:31we don't put a camera anywhere we wouldn't be able to do it for real so we
01:35were really in sync on that trying to recreate in a cinematic way the same sort
01:41of footage that had that we're familiar with growing up so we're gonna go to 90
01:49because you're right there and then we'll go to 176 you have to leave that
01:52number up Carolyn Giardina from The Hollywood Reporter congratulations thank
01:56you hi Carolyn Paula's questions for you last year you were here for Blade Runner how
02:01does it feel two consecutive years oh my goodness this is this is so surreal so so
02:07my 15 minutes of fame seems to seems to be carried on for like another 15 minutes I'm
02:14I'm I'm back with Denis for June so so so yeah so look this is this is like a a a fantastic fantastic
02:26occasion in that like we've been honored with like the actual process in which like
02:32we've been which like we talked about endlessly as to as to how we would do this and the fact that like
02:40we've been honored by the Academy is truly magnificent we're going over to 176 and then 44
02:48Tristan Eli Glasner from CBC News I got a note from Deborah who says the cat is fine
02:54and tell Canada about your your role in the film and perhaps the team in Vancouver so I was the DFX
03:03supervisor on on this show primarily responsible for getting the content onto the LED screens that we
03:09had on the on the soundstage work in 24 hours a day occasionally working 24 hours a day so getting
03:16that stuff ready for when that when they're shooting so they can get everything in camera and then after
03:21that carrying on for the the post process making the quarry look like the moon and all that kind of
03:27stuff thank you we're going here to 44 which will wrap it up congratulations it's Jasmine Wars daily
03:35um is there a process that you used that was unique to the film something that hasn't been used before
03:42technology-wise well uh the fact that we used an LED screen to actually um render our CG content because
03:52like we actually rendered a lot of CG content like like actually Tristan and his team made 90 minutes worth of uh content which like we put on the screen which the which JD oversaw
04:04to be able to sync to the gimbal you know it was a true it was a true collaboration
04:11and the fact that like we were able to um put put the uh computer generated imagery on the screen
04:20and actually shoot it through the camera gave it gave it like a instant film instant filmic look you
04:27you know and there were like a number of shots which like we uh didn't touch in post but like
04:33we actually kept in camera and i believe that like that that whole process that whole uh different
04:41different mindset of like actually working is something which i want to carry on and i believe
04:46all the guys want to carry on in that like it does change the way in which we do our work you know it
04:52doesn't have to be green screen it doesn't have to be blue screen it can be something far more realistic
04:59thank you so much and congratulations gentlemen thank you very much thank you all very much
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