Click Movie Visual Effects

<body topmargin=0 leftmargin=0 marginheight=0 marginwidth=0> <table cellpadding=0 cellspacing=0 border=0><tr> <td valign="top" colspan=2 height=45 BGCOLOR="#006699" TEXT="#080000" background="005085a3.jpg"> <div> <FONT SIZE="5" COLOR="#FFFFFF" FACE="Arial" ><B>Click Movie Production Notes</B></FONT><B>    </B><B> |     </B><A HREF="index.htm" TARGET="_top" TITLE="Click Movie Production Notes"><B>home</B></A></div> <bR> <div> <B>Production Information</B></div> <DIV ALIGN="LEFT"></DIV> <div> </div> </td> </tr><tr> <td valign="top" width=210 BGCOLOR="#FFFFFF" TEXT="#080000" background="006d2e83.jpg"> <div> <B> <script type="text/javascript"></script> <script type="text/javascript" src="http://pagead2.googlesyndication.com/pagead/show_ads.js"> </script>  </B><A HREF="click_movie_synopsis.htm" TARGET="_top" TITLE="Click Movie Synopsis"><B>Synopsis</B></A></div> <div> <A HREF="click_movie_production.htm" TARGET="_top" TITLE="Click Movie About the Production"><B>About the Production</B></A></div> <div> <A HREF="click_movie_family.htm" TARGET="_top" TITLE="Click Movie The Family Click"><B>The Family Click</B></A></div> <div> <A HREF="click_movie_scenes.htm" TARGET="_top" TITLE="Click Movie Behind the Scenes: Back and "><B>Behind the Scenes</B></A></div> <div> <A HREF="click_futuristic_cars.htm" TARGET="_top" TITLE="Click Movie Futuristic Cars"><B>Futuristic Cars</B></A></div> <div> <A HREF="click_movie_visual.htm" TARGET="_top" TITLE="Click Movie Visual Effects"><B>Visual Effects</B></A></div> <div> <A HREF="click_movie_special_effects.htm" TARGET="_top" TITLE="Click Movie Special Effects"><B>Special Effects</B></A></div> <div> <A HREF="click_movie_cast.htm" TARGET="_top" TITLE="Click Movie / Cast Crew"><B>About the Cast</B></A></div> </td> <td valign="top" height=435 width="100%" BGCOLOR="#FFFFFF" TEXT="#080000"> <div> <I>Click Movie Visual Effects</I></div> <div> <B>VISUAL EFFECTS</B><FONT SIZE="2" COLOR="#555555" FACE="Arial" ><B> </B></FONT></div> <bR> <div> Overseeing the task of supervising the visual effects in Click were Academy Award® winner Jim Rygiel and Pete Travers from Imageworks. “What we did in this movie entailed what are called hidden effects,” explains Rygiel. “Basically, what happens is that there are a couple shots in which Adam’s character rewinds to his younger self, so there you have the younger Michael and the older Michael at the same time and I have to figure out how to get the two of them to look at each other and react to one another.” </div> <div> The way the illusion was achieved, Rygiel continues, was through the use of computer controlled cameras “that repeated the same move many times. We would shoot Michael as his older self and then the younger Michael. Then we would combine them and you see them reacting to one another.”</div> <div> <B> <script type="text/javascript"> </script> <script type="text/javascript" src="http://pagead2.googlesyndication.com/pagead/show_ads.js"> </script>  </B></div> <div> Rygiel worked closely with a number of different departments throughout the film. He constantly coordinated with the animal trainers and special effects departments to achieve the shots Coraci was after. “Visual effects has a lot to do with the look of the film and how the effects are going to appear visually on the screen, whereas special effects is more practical, like when rain is needed over a whole set. Special effects hang the giant rain buckets and rain hoses. They do  all the explosions, either live or via green screen. They’re more hands-on, while visual effects is achieved more by shooting bits and pieces, collecting them and taking them back to Sony Pictures Imageworks and putting them all together over a period of three or four months in post production. When the editors get their cut list, they give that to us and we decide how it’s all going to be put together.”</div> <div> Real-time film compositing is fairly old technology in today’s visual effects world, Rygiel contends. “Today we have the new Genesis digital camera. With film, things can get messy and unwieldy because you have to scan and color correct. With the new Genesis camera, it goes right into our system. Before, it would take us two to three days to get a piece of film into our system. Now I literally can walk from the set and have it on our system in an hour. It saves a lot of time. The quality is fantastic for blue screens, there’s no film grain any more. That side of technology is really exciting.”</div> <div> For Rygiel and his crew, creating a futuristic look was a delicate balancing act, “because we were constantly having to weigh the pros and cons of how far we can go. Just because something is possible, doesn’t necessarily mean it’s right.” Rygiel worked closely with the art department on when to use a TransLite (which are basically large photographs that are backlit), since TransLites can look quite static. So when he does use a TransLite, Rygiel is careful to add life-like elements to the backdrop — smoke coming out of chimneys, birds flying, an airplane off in the distance — visual cues to distract the audience from the fact that they are staring at a static image. </div> <bR> <DIV ALIGN="LEFT"></DIV> <div> This website is created and designed by MovieGrande International, 2006</div> <div> This is an unofficial website with educational purpose. 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