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| The filmmakers originally planned to create many of the film’s New York sequences with stitched-together 2-D photographic background elements taken from stills shot by Adkins and visual-effects supervisor Darin Hollings with a Nikon D1-X. However, as the scale of the project grew, many more 3-D CG backgrounds were utilized. “Dedicating ourselves to 3-D CG backgrounds that were fully lit and textured added a lot of complexity to the process,” observes Adkins. | ||
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© 2004 American Cinematographer. | |