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A key sequence that adheres to the filmmakers’ original “low-tech” approach to creating backgrounds shows Perkins meeting an informant in Radio City Music Hall. “As Gwyneth walks into the lobby, we do a big, panning reveal of the entire lobby,” explains Adkins. “We created a panorama background by overlapping about nine separate digital stills. When we shot them, we didn’t use a lens wider than 32mm so there wouldn’t be any curvature and tried to keep it as nodal as possible. We then stitched the shots together and did a slight push in as she walks past the camera; because the background was created out of many high-resolution stills, we didn’t have to worry about losing resolution on the background. Shooting those background elements required just three people: Darin and me, and one union electrician to turn on the building’s architectural house lights!”
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