The production crew’s challenge: scope out the best places to put these cameras.
Ian Herring and the rest of the team have already nailed down locations for most of the kill cams. These systems will be placed inside the stadium, destined to be annihilated by the implosion as they capture the event ultra close.
Next, they have to decide where to position our perimeter cams.
So they hit the neighbourhood to scout out the best spots.
Stereographer Sean White explores a piece of Salvador …
… and checks out a tentative camera position
The crew also snapped some VFX plate shots of the stadium while they were offsite.
Our compositor, Jakub Kuczynski, will use these stills to create a 3D model of the structure.
This stereoscopic photo-real stadium will stand long after the real venue falls: we’ll use it in the show to orient the audience, share implosion scenarios, reveal explosive demolition details, etc.