Halon Powers Tomorrowland Previs

Halon worked with Brad Bird to figure out the futuristic architecture and activities of Tomorrowland.

The Halon team was headed by Tefft Smith, AJ Briones, Brad Alexander,  and Michael Jackson, helping Bird “invoke childhood memories of what the possibility of the future would be.”  The city of Tomorrowland was the focus and Bird and production designer Scott Chambliss were hands on with Halon through the entire process until the city was ready to begin building shots and sequences.

Halon supervisors worked extensively with writer-producer Damon Lindelof and Bird on new ideas and story points, visualizing complete sequences. With Halon editing and showing its work in context with storyboards and concept illustrations, Bird could make informed decisions about story, shot composition, budget implications, and more.

Once previs sequences were approved, Halon followed-up with proper lens info, camera heights, and even location info so that the filming went a little smoother. Halon’s work allowed Bird to know exactly what he needed to shoot once he went on location. Once the shoot was over and Bird started to edit the film (with Walter Murch and later Craig Wood), he came back to Halon for postvis. The main function of postvis was to add the digital Tomorrowland city into  the shots. Ultimately, it was about finding “the best way for the visuals to serve the story.”

Posted on by Bill Desowitz in Animation, Below the Line, Crafts, Movies, previs, Tech, VFX, Virtual Production

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