British magic makes Hollywood look good

VISUAL FEAST: The visual-effects know-how of Britain's Framestore helped Gravity, which stars Bullock (above) and Clooney, rack up 10 Oscar nominations.


    Feb 13, 2014

    British magic makes Hollywood look good


    IN A London basement, cutting-edge technology is being used to make a computerised Sandra Bullock climb into her rocket.

    But the team who put her there in Gravity have spent the morning working with more basic tools of the trade: syrup, cheese and chocolate.

    "We're trying to create a melting-flesh effect for the new Tom Cruise movie," said Mr Richard Graham, visual-effects project manager at Framestore, the British company that has helped Gravity collect 10 Oscar nominations.

    "Golden syrup and chocolate make really good blood if you mix them with lots of red food colouring," Mr Graham said in an interview at Framestore's sprawling studios.

    "We've also been blow-torching different cheeses to make them bubble. Burger cheese didn't work that well because the fat content's not high enough. Mature English cheddar was a lot better."

    The sticky mess of foodstuffs will appear for only a fleeting moment, grafted digitally onto the actors' skins, in the forthcoming movie End Of Tomorrow.

    But that's nothing unusual for Mr Graham and the other visual effects (VFX) artists who spent a painstaking 31/2 years creating the stunning computer-generated space vistas of Gravity.

    Framestore staff toiled for a year building a digital replica of the International Space Station (ISS) - and then tore their hair out trying to work out how to blow it up.

    Mr Tim Webber, the film's VFX supervisor, remembers feeling exhausted after the very first meeting with director Alfonso Cuaron.

    "So much about it was so different to any film before," Mr Webber said. "The massive involvement of visual effects changed everything about the film-making process."

    An extremely complex shoot saw Bullock and co-star George Clooney spend hours suspended in rigging at Shepperton Studios, west of London, or else trapped in a cage filled with two million tiny LEDs designed to simulate the harsh light in space.

    Time Magazine named this innovative "lightbox" as one of its top inventions for last year. But like the cheese in End Of Tomorrow, other VFX tricks used in Gravity were more rudimentary.

    "We had someone hit Sandra Bullock over the head with a broomstick," Mr Webber recalled.

    "She was supposed to be flying down the ISS and bumping into the walls, so we had to get her to react as if she'd bumped into something. There was a lot of low-tech stuff going on alongside the high-tech stuff."

    Some 500 VFX staff worked on the movie, many of them poring over National Aeronautics and Space Administration videos for hours in a bid to make the portrayal of zero gravity as authentic as possible.

    Other parts of the film, Mr Webber readily admitted, required larger leaps of imagination. Few people have seen fire in space, for example - so huge explosions were extrapolated from a YouTube clip of an astronaut lighting a match.

    In most shots, only the actors' faces are real - the space station, stars and even the suits were generated by computers in London.

    Gravity is one of a growing number of Hollywood blockbusters to have had their computer-generated imagery magic worked in the British capital.

    "You might think it was made in Los Angeles," said Mr Adrian Wootton, chief executive of the Film London public agency. "But it's absolutely a film that's been made in London. It's a fantastic ad for us."