The filmmakers' most innovative tool was the Light Box: a 20-foot-high (6-meter-high), boxy enclosure outfitted on the inside with 4,096 LED bulbs. (The harness for the wires had to be made just right to fit under Sandra Bullock's skivvies.) Still other scenes were shot while the actors perched on a variety of rigs set up on a turntable. For others, they were hooked up with a 12-wire suspension system, and then filmed with robotic cameras while puppeteers pulled their strings. "When we told her that that wasn't going to be the system, and we have these other sets of tools, she didn't care how painful the other tools were," Cuaron told .įor some scenes, the actors were filmed as they swam through their moves underwater. Those potentially nausea-inducing flights weren't an option for "Gravity" - in part because Cuaron was going for longer takes, and in part because Bullock has a deathly fear of flying. Due to the technological process, the margin for improvisation and spontaneity was very small, which added to the challenge for Sandra and George," Cuaron said.īut how do you get Sandra and George into zero-gravity mode? The weightless scenes in "Apollo 13" were filmed in short takes during parabolic airplane flights, which provide about a half-minute of weightlessness at a time. "The live action was limited by what was preprogrammed in the previs. The animation shaped the actors' performances. "We had to relearn physics, since we were all used to motion arcs that are determined by weight," senior animation supervisor David Shirk said in the movie's production notes.
Gravity 2013 movie#
Early on, the filmmakers decided to map out the entire movie with computer-generated imagery in a process they called previsualization, or "previs."Īnimators adhered to the rules of objects in weightlessness as they previsualized the film, shot by shot, using highly detailed computer graphics. The work that went into pulling off that feat started years ago. Instead, we'll focus on how director Alfonso Cuaron and his team made Bullock and Clooney look good in zero gravity - so good that "Avatar" director James Cameron says "Gravity" is "the best space film ever done." ("It's a typical historical drama," Grazier said.) If it's nitpicking you're after, check out the critiques from Time, The New York Times and Blastr. (Though it's important to note that the cascading effect of orbital debris, also known as the Kessler Syndrome, is a real concern - as the Russians found out this year.)Īnd we won't worry about the fact that the space shuttles aren't flying anymore. We won't discuss how unlikely it would be for the planned shootdown of a satellite to cause an immediate catastrophe for a space shuttle. That orbit-crossing trek is one of the movie's key plot points, but in reality it's virtually impossible - which led to huge logistical complications for NASA's final Hubble servicing mission. So we won't dwell on how hard it would be to get from the Hubble Space Telescope to the International Space Station. That's a different movie, and that's not what they were shooting for." You can either say 'You can get to the ISS from here,' or you have a movie like 'Open Water' in space.
This meant that shots and blocking had to be planned well in advance for the robots to be programmed."There are places where they went against the science input that they got, because it blows up their story," Kevin Grazier, a planetary scientist who served as an adviser for "Gravity," told NBC News.
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Eventually, the team decided to use computer-generated imagery for the spacewalk scenes andĪutomotive robots to move Sandra Bullock for interior space station scenes. Marooned was a film also set in Earth orbit, but didn't have the technical advantages ofĤ) Shooting long scenes in a zero-g environment was a challenge. The production crew's "reflections" were added with CGI to make it look like the scene was actually filmed in space, and that the post-production team failed toģ) Alfonso Cuaron was inspired by the film Marooned (1969). 1) Continuous uninterrupted shots sequences done without using virtual cinematography, only CGI backgrounds and live actors.Ģ) In the opening scene, as Kowalski flies very close to the camera, astronauts holding a movie camera and boom mic appear to be reflected in his helmet visor.
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