Technology Behind Man Of Steel}

Technology behind Man of Steel



Superman’s, even though being fictional and an alien on top of that, is not only considered as a legend but a part of this world’s culture as well. Keeping that in mind, Warner Brothers decided to reboot the series and give Superman a new look along with a new angle in the movie Man of Steeld irected by Zack Snyder and produced by Christopher Nolan(often mistaken as the director). Such an ambitious movie obviously required ambitious technology and Man of Steel delivered the effects with cutting edge technology onto the screen.

The all important responsibility of visual effects rested upon John ‘DJ’ Desjardin, visual superviser along with the likes of Weta Digital, MPC, and Double Negative. Amongst the notable effects that Man of Steel utilised, three pretty much stands out.

Liquid Geometry:


As Dan Lemmon from Weta Digital puts it, its a bunch of silver beads that are suspended through a magnetic field, and the machine is able to control that magnetic field so that the collection of beads behave almost like three-dimensional pixels, and they can create a surface that floats in the air and describes whatever the thing is youre supposed to be seeing. Basically, these tiny beads could be manipulated within the magnetic field thus simulating the ships and flying objects became easier.

Terraforming and the City:

Double Negative were handed the responsibility to create the city of Metropolis, and they used Esri’s CityEngine to make it possible. The same engine that was used to create the vast futuristic world of Total Recall. Since Man of Steel was a much more scaled up version of that, they had to take the models from Total Recall, strip down the kits and base the designs around Downtowns from Los Angeles, New York and Chicago. Plus the kits had to be rigged for destruction, which was an added job to the list. To deal with the destruction events, the studio had to think up a procedural method of the events where on the thing triggered the another; from the crashes to the dust flying.

Combat Sequences:

John Desjardin explained that they wanted the film to appear very natural; not the traditional pan-and-follow camera sequences. The entire idea was to catch a super-realistic view of the combats much like a documentary. The quite a few of the camera rules were derived from Battlestar Galactica’s rules of space cameras. Desjardin wanted the entire action to be seamless unless breaking it up was absolutely necessary. The shots were all pre-visualised followed by shooting live action sequences for the scenes. In post production, the digital-doubles were taken and animated as per requirement. The environment was filmed using a Canon EOS 5D with a motorised nodal head which allowed 360-angle captures with a 55k resolution.

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