Batman Begins, Gotham Sunrise
Posted by NovaAngel at October 26th, 2008
One of the most technically accomplished effect sequences in the movie has been tagged ‘Gotham Sunrise’ by its makers, and shows the sprawling home of Batman in its entirety – and it presented a huge task to create for the team at Double Negative.
“The art department miniatures unit, led by James Hambidge, created a model showing the layout of Gotham City,” explains Double Negative visual-effects supervisor Paul Franklin.
“The concept was of a city built on series of islands and sprawling out across the neighbouring landmass like a gargantuan version of New York. Chris Nolan was keen for the final shot to look realistic, while simultaneously conveying the idea of a city out of control, bigger than the biggest city that exists anywhere,” Franklin
explains.
The initial plan of attack – to shoot it entirely in miniature – quickly ran into budget difficulties due to its sheer size, making a digital recreation the only alternative. Yet Nolan needed convincing.
“Our first task was to prove that a digital version could capture the same level of complexity that was present in the maquette, so we put together a construction kit that allowed us to lay out a city of 80,000 structures, light it, render it and shoot it to film.” It proved a hit with Nolan.
“The buildings in the final shot are sourced from Chicago originals, with slight modifications to make sure that we didn’t end up with multiple copies of the highly recognizable Sears Tower in Gotham,” says Franklin. The model library was assembled through a combination of Lidar, photogrammetry and online research.
We ended up with a database of over 2,000 structures, all of which were individually textured with photos taken by location scouts in Chicago, each showing their correct facades.”
In order to capture a more observed reality than the overly stylized Gotham City’s of previous outings, Double Negative mounted a series of stills shoots from the tops of tall buildings in Chicago, culminating in a shoot of the dawn rising over lake Michigan as seen from the roof of the Sears Tower, 1,400 feet above street level. The photos gathered from the shoot served as the primary reference for the lighting scheme in the final shot.
“Eventually, we ended up almost as victims of our own success as Chris felt that the shot looked so convincing that he was worried that audiences wouldn’t pick up on the city’s extreme scale,” says Franklin. “We spent the last few weeks on the shot adding buildings until it stretched all the way to the horizon. In total, there were over 500,000 detailed digital buildings in the final shot.”