Initially, DesJardin says, the plan was that "We’re gonna be kinda going with him into space, and then we’re going to do this slow push-in to his face, and he’s going to be smiling knowingly like he’s got control of his flight power." The result, however - a sequence where the camera magically moved around Superman without much sense of physical reality - didn’t fit with Snyder’s stylistic directive.įortunately, the team was able to rethink the camera positioning thanks to the large amount of additional data and imagery they captured while filming the live elements. The filmmakers shot footage for the scene, but after it was cut together with the pre-visualized mock-ups ("previz") they realized their approach didn’t quite work. Snyder storyboarded the first flying sequence, in which Clark Kent jumps massive distances before coming to grips with his aerial ability. It's going to be anamorphic, so if you look up at the sun there's going to be a big flare going across the screen.’ And once we got into that mindset, a lot of camera-style questions got answered really quickly about how the flying should be done." It’s going to be 24 frames, no slow motion. "Where he said to us, ‘I want this to be really cinéma vérité, documentary-style. "I think a lot of the direction for the flying came from Zack’s style for the movie," DesJardin says.
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