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Visual effects were used to achieve the majestic exterior dimensions of the Opera House and its fiery destruction during the dramatic conclusion of the story. After the effects shots had been timed with lustre, they went to our inferno stations, where eight-10 artists worked on the effects simultaneously.
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It enabled us to control and maintain the director and director of photographys vision. With lustre, what you see is what you get on film. We used lustre to time all the visual effects shots in The Phantom of the Opera, in order to create continuity. As a result, Asylum used the inferno system to composite the chandelier into necessary shots.ĭiscreets lustre system is the beating heart of our film workflow, McGuinness explained in a release. Phantom was shot in London with no studio being large enough to accommodate the 40-foot long falling chandelier the story required. for senior visual effects supervisor Nathan McGuiness, owner of post-production house Asylum in Santa Monica, California, which completed more than 150 shots for the film, including the breathtaking opening in which a postcard comes to life. David Jones supervised the work in the U.K. provided the bulk of the visual effects for the movie, including miniatures, tracking camera moves, compositing and rough previs. Ornate sets, lavish costuming, unforgettable musical performances, sweeping camera moves and subtle visual effects all contribute to the film experience. Director Joel Schumacher brings Andrew Lloyd Webbers haunting love story, Phantom of the Opera,to the screen with the grand scale and elaborate production values of a classic opera production.