![]() I’m not kidding when I say this – we drained the planet of this particular type of light. But, instead of it being a single strobe light per frame, like we used in the Valkyrie flashback, you’re now using huge banks of 50 or 60 industrial level strobes, which are lights that are able to be controlled within milliseconds. Then, when you shoot your actors, you shoot with an incredibly high speed camera. You’re lighting with a keylight and an accompanying fill for every single angle, but instead of them being continuous sources you turn these lights into what are effectively strobe lights. It’s a lighting rig they call Platelight that allows you to shoot your actors by lighting them normally, but you’re actually lighting them from six different angles. We shot with a progression on the lighting rig that we did for the last picture, the one from Satellite Lab that we used for Valkyrie’s flashback in Thor: Ragnarok. ‘We drained the planet of this particular type of light’ ![]() The sum of those shots is to show the audience immediately that this is a weird place but still start to establish the visual rules. ![]() That was a shot that I put together with Taika a really long time ago in previs. Then we’ve got what we called the hamster wheel shot, where they’re walking on top of the planet and the planet’s spinning below them. This show’s the ‘there’s no up in the universe’ aspect. Then there’s a sideways shot of the boat falling over and the goats screaming, as they do. The first thing is the sight gag of the boat going ‘Bang!’ into the moon, and you realize it’s a tiny moon. There are three or four different things running in that sequence, simultaneously, but we narratively walk the audience through them. It’s up there with the Valkyrie flashback sequence from Thor: Ragnarok, in terms of being visually spectacular. It’s one of the things I’m most proud of. And that was when the Moon of Shame suddenly came to be. Jake Morrison (visual effects supervisor, Thor: Love and Thunder): We needed Gorr’s lair somewhere out there. You can also listen to the befores & afters podcast on the tech with the Satellite Lab team.Ĭheck out the end of this article, too, for a note on some earlier and ongoing research in the same area published by Paul Debevec and USC Institute for Creative Technologies. Here, Love and Thunder visual effects supervisor Jake Morrison, who also worked on Ragnarok, explains more of the process for shooting this Shadow Realm sequence, and what the various lighting passes allowed the filmmakers to achieve. The final visual effects work for the sequence was handled by Method Studios, now Framestore, in Montreal. the lighting) could then be controlled in post. Since each lighting ‘pass’ was recorded as effectively pieces of separate footage, these passes (ie. It was set up to capture multiple strobe-like lighting set-ups all at once, using the same high-speed camera. For example, the electrical energy in an oven is changed to thermal energy to cook your dinner.The distinctive moving light on the characters, and their oscillation between black and white and color, was helped made possible using the lighting rig, dubbed Platelight. Within these two classes are many different types of energy such as chemical energy (contained in food, for example), mechanical energy (objects that are moving, like a ball rolling down a hill), electrical energy (electricity we get from a battery, for example), thermal energy (the energy of motion, which we call “temperature”), and sound energy (vibrations in air, water, or some other matter that we can hear with our ears).Įnergy can change forms too. Examples of potential energy include a pencil sitting on a desk and a spring that has been pushed – both have energy but are not using it. A plant growing, a person clapping, and a hurricane forming are all examples of kinetic energy. There are two main classifications of energy – Kinetic (moving) energy, and potential (stored) energy. When something expends energy – a person runs, lightening happens, or a car moves – it is doing work.
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