“By having a compositor in-house to do the easier jobs, you have someone to do higher-level temp work,” Mavromates said, illuminating how polished temporary effects shots can be crucial to the film’s reaction from producers or early audiences. Into this realm of adding visual effects elements to existing production shots, Her’s team added compositing elements to the list of tasks executed by assistant editors. You have this added benefit of trying things with a soft composite.” “With Spike, and (when) I work with David Fincher, we have somebody in-house that’s doing the smaller effects shots. “In our movie, the number of shots that had to have work done on them is 200 or so,” he said. Thus, in a smaller-scale film such as Her, having an in-house artist is merely logical, according to Mavromates. With large-scale effects films, sometimes requiring 1000 or more visual effects shots, hiring multiple visual effects vendors has become commonplace. When Marvel do their movies, they have a big in-house team next door to editing.” It’s an organic process for the computer screens. “By bringing (Doulgeris) in-house, he can try different things. “Spike likes to try things out,” Mavromates commented. Christopher Doulgeris is credited on the film as “In-house Visual Effects And Motion Graphics: 1 Man Army.” In a sign of potentially revolutionary methodologies in feature postproduction’s new fluid digital pipeline, Her’s key team brought a visual effects compositor into the editing room to work on monitor graphics. You don’t want to commit to anything that’s going to be expensive if there’s a chance it could come out of the movie.” There’s also the added complication of structure and scenes that are in or out. I’m updating my database with all of those. In a shot, we’re talking about adding buildings on this side. “When Spike is in the edit room, other notes come up. “What happens is when an assembly comes out right after principal, I have a copy of the movie that I’m breaking down on the shots I know about,” Mavromates explained. When principal photography wrapped in Shanghai and Los Angeles, Mavromates’ major tasks remained, all in the name of realizing Jonze’s particular vision. The great thing about digital technology is that you can go in and modify what you shot.” “When they were shooting downtown in Theo’s ( Joaquin Phoenix) apartment, in night shoots, we shot reference material and stills. “Either myself or somebody else in the process would be on set because there’s a specific need,” he said. During production, Mavromates made sure his department was present at all stages. The concept behind that is it is a normal world, slightly different.”īeginning work in October-November of 2012, Mavromates’ major work on Her was finished in September of 2013. “Spike and KK did not want to be so strong in what the look was that people would say (it took place in) an exact year,” Mavromates described. Given Jonze’s predilections for manifesting a future landscape, he consulted production designer KK Barrett (Oscar nominated this year) on how they would combine Los Angeles, Shanghai, original construction, and Mavromates’ effects to create a seamless universe within the film. It wasn’t the effects that drove the schedule.” This went on through pre-production and right till the end of post. “They were even looking at stuff after it was shot and thinking that they could change something slightly so that they could reflect that it was different than its period. “They were thinking (about visual effects) as early as scouting,” Mavromates said. Since director Spike Jonze wished to populate his world with subtle references to the future, visual effects, combined with production design, were considered early in the process. Naturally, like many such contemporary projects, Her was shot and posted digitally. One of the places they went to shoot is Shanghai with its groups of buildings - it could be LA with a modernist twist to it.” “Even before I came on, they had location stills and an artist drew basic concepts,” Mavromates said of Her’s pre-production period in service of creating this imaginary world without a $200 million expense. Longtime postproduction supervisor Peter Mavromates served as Her’s visual effects producer. Case in point is the current sci-fi love story Her, in which all aforementioned skill areas were implemented in conjunction to fabricate the illusion of a vaguely futuristic Los Angeles. With the ubiquitous nature of the digital toolbox, smaller-budgeted films are now melding the previously separated crafts of production design, visual effects and picture editing.
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