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These shots show a final composite of Sky Captain manning his Warhawk fighter and the actual bluescreen shoot. This mockup aircraft was used for all plane interiors, and for scenes showing the actors climbing in and out of the craft. “When we were shooting a scene that was set outside, we used some soft overhead light from space lights and then brought in a little direct light,” recalls Adkins. “However, we had to choose whether to use a shadow. Normally, on the ‘daylight’ work, we’d use the largest light possible and place it as far away as possible. That way we had a longer run of movement without the light levels changing on the performers. For interiors, we tended to keep the lights closer so the light would drop off and the actors could walk in and out of it more quickly.” (image 1 of 2)
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