The opening shot was more complex than it looks; The exterior plate was shot on location and ended with the camera stopping in front of the door facing a blue card placed behind the window / the interior was shot on a set.

I did a manual matchmove on both the exterior and interior plates and fitted a new camera that smoothly went between the two. Both sequences were camera projected onto their respective geometry from the matchmoved cameras but rendered through the NEW camera. Richard Addison-Wood wrote code to remove the HMI flicker from the interior plate and Gray Horsfield did the compositing in Eddie. A lot of effort, but a seamless result that got Weta the contract for more shots.

The ‘spaghettification’ shots were tough in that they were both a moving target creatively and a big challenge technically. (Shooting a reflective metal suit against bluescreen was always going to be trouble.)

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