PATRICK TATOPOULOS: The Batmobile, the Batcave, his house,
his manor are cultural icons.
Which designer out there doesn't want to design the Batcave?
So this is where I really focus my attention.
The sense of legacy is there,
but when I started to design the cave, I thought,
"Wouldn't it be cool if this one was actually not grand,
"but was squished, really oppressing,
"and that these buildings were actually trying to fit within the cave?"
The main goal was that form follows function.
Build less and you express more.
We built 3D models because that's still one of the best mediums
to explain an idea.
But it was a challenge of building these different vignettes,
cram it in one stage,
and still leave enough space for the actors and all the shots.
Welcome to the Batcave.
This is obviously the early stages.
This is not a glacier,
this is actually the rockface in the cave.
We're gonna have to seal it, paint it, and make it look super real.
It's pretty fun.
TATOPOULOS: Most of the caves in bat movies are usually gigantic and beautiful.
Here you'll see the ceiling of the cave going down
and be very, very crushed onto the building.
So you'll feel like you barely have the space to live in there.
It feels like Bruce Wayne put his building wherever it fits.
The cave is a huge catacomb.
The whole idea was that you create cubes.
Everything is basically enclosed
except the turntable and the shop for the Batmobile.
The hallway, the armoury, the lab is enclosed in glass and concrete.
It's very modernistic.
Everywhere you look, you see the extension of the cave,
what is always behind panels of glass.
It's very open.
Although you're in a crazy cave, you never feel claustrophobic in here.
If you look at the set, every structure is actually floating.
It's attached a very low footprint on the cave.
It may be hanging,
but there is no big pillar that seems to be floating in the air.
This is Bruce Wayne's lab. We're actually controlling it from here.
A lot of times, actors are staring at green screens
and trying to act out what scene in the story is about.
But we help provide a live experience
that really helps the directors inform where an actor can react to,
in terms of the action on the scene.
This is the main station. This is where he works most of the time.
The only thing that actually touches the ground is the chair.
At one point I felt,
"Does it make sense to have you actually suspended on the swing?"
It made no sense at all.
So the chair is the only thing that touches the ground.
What you see here is the mech suit getting fixed.
Put together, and that's the table he uses for that.
Every tool is here, and he works on fixing the suit.
So this table can actually slide and get closer to the suit if needed.
<i>Every table in here travels left and right, forward, backward.</i>
JEREMY IRONS: Very clever design.
You can believe the construction, the way it hangs from the ceiling.
You can believe you're there under Wayne Manor.
You can believe the lake.
TATOPOULOS: Here we are at the water level.
<i>So this looks quite deep 'cause it's dyed.</i>
But actually this is the depth.
My fingers are touching the bottom now.
Like three inches of water.
I think it's important that the bridge dives into darkness quickly,
and we try to not make it too bright, so we keep a little mystery there.
And when he dives into the darkness, we have the Batwing sitting here.
The Batwing is suspended, as we talked about, almost like a bat,
every object here is reminiscent of the concept of a bat.
Everything is suspended.
I think the whole language has been going on everywhere in this cave.
That's what makes me happy.
We're actually able to push it all the way.
One big thing about this cave,
there's very little material that's been shot here
that requires CGI extension.
There will be CGI work for the laser,
but the actual cave itself, maybe 98% of the angles don't require CGl.
What you see is what you get.
That's what's in the movie.
MAN: This is a rock of Kryptonite.
It's about to be "laser cut" by this fantastic laser ray.
DOUG HARLOCKER: This weighs over 800 pounds. It's not a light thing.
It takes a bunch of people,
lot of technology to get us into the Batcave.
We designed it, fabricated every single inch of it.
Some of the materials we used in making the laser were metal and plastics,
and a lot of paint finishes
to make it look like it's fumed or burnt,
like the heat has really affected the metal.
And this is what fires the laser.
In order to make this look like a real laser
<i>'cause it's just</i> a <i>prop,</i>
the lighting department and the grip department...
You run fluorescent tubes from the rock to the tip of our laser, essentially,
and with a little bit of smoke and some lightning strikes,
For more infomation >> Josh Dobbs, LaTroy Lewis take kids on shopping spree - Duration: 1:27. 
For more infomation >> 0.39ctw Colored and White Diamond Interlocking Necklace - Duration: 4:42. 
Không có nhận xét nào:
Đăng nhận xét