alice through the looking glass film knave of hearts

#ALICE THROUGH THE LOOKING GLASS FILM KNAVE OF HEARTS MOVIE#
#ALICE THROUGH THE LOOKING GLASS FILM KNAVE OF HEARTS ARCHIVE#
#ALICE THROUGH THE LOOKING GLASS FILM KNAVE OF HEARTS PLUS#

The Dalsa camera has a very different way of capturing colour compared to the Genesis. One of those ways was just matching colour. We knew we needed to bring these two resolutions together into one world, in quite a few different ways.

#ALICE THROUGH THE LOOKING GLASS FILM KNAVE OF HEARTS ARCHIVE#

zip archive of hires JPEG images for viewing offline. To view the green screen originals at 4K, you can download a. And we had the Evolution 4K camera which is 4096 x 2048 with a 2:1 aspect ratio. So we had the Genesis, which has a 1920 x 1080 resolution with a 1:78:1 aspect ratio. We also knew that because there were only two of the Evolutions in existence that we couldn’t rely on just them to shoot the whole movie, so we opted also for the Panavision Genesis for a good portion of the film as well. Still, it’s about 75 per cent bigger than a normal camera. But the Evolution is much smaller and offered us some real options. Dalsa has another camera – the Origin – which is a huge camera, two and a half times bigger than a normal camera. What we decided to do was go with a 4K camera, and after working with the DP, Dariusz Wolski, for a number of weeks and months, we opted for the Dalsa Evolution camera. And for the Red Queen, we thought we’d have to make her head at least twice the normal size.

#ALICE THROUGH THE LOOKING GLASS FILM KNAVE OF HEARTS MOVIE#

She spends a great deal of the movie being eight and a half feet tall, which was almost a 60 per cent blow-up. There was also other scaling that had to be done throughout the movie for the Alice character. So we had to use a high-resolution camera approach to shooting the Red Queen. We actually keyed the characters from the greenscreen onto a real pre-built background environment. We knew we wanted to shoot digital because we were going to use a real-time tracking and playback system on set. There’s a limit to how much you can do this without losing quality, especially the kind of quality we needed in a high end feature film like this. Villegas: The first thing was – how were we going to shoot the character and translate this to the digital world? To increase the head size, we knew we couldn’t blow-up photography too much. For the Red Queen, we really wanted to give her this caricatured feel – this enlarged head and a really tiny cinched in waist.įxg: Can you talk about the early planning stages for accomplishing the Red Queen’s look? So we wanted to incorporate his drawing style into the actors playing these characters. His style was to draw them with really large heads and eyes. Villegas: Well, Tim Burton’s an artist himself, so he was always sketching designs for the characters.

In this interview we focus on the Red Queen shots by talking to Carey Villegas, one of Imageworks’ visual effects supervisors on the film.įxg: How did the Red Queen’s character come to have such a large head? One such character is the Red Queen (Helena Bonham Carter) who appears on screen with an enormous and imposing head care of visual effects by Sony Pictures Imageworks.

#ALICE THROUGH THE LOOKING GLASS FILM KNAVE OF HEARTS PLUS#

Tim Burton’s re-imagining of Alice in Wonderland features a cast of real and digital characters, plus some that are in-between.

Alice through the looking glass film knave of hearts