Los Angeles Times



Visual effects supervisor Dan Lemmon says Matt Reeves and company wanted to make “The Batman” “not so much a superhero movie, but a gritty, noir detective story, grounded in reality.”

To make an unreal place — Gotham City — and unlikely abilities — such as Batman gliding to safety after jumping off a skyscraper — seem viable, the team used LED volumes — soundstage­s with massive video screens. They shot the actors against virtual Gotham cityscapes projected onto the screens, rather than green screens. Thus, instead of regular movie lighting, the actors were illuminate­d by the virtual sunset and city ambience.

Lemmon says, “You can see the sunset reflecting off Batman’s cowl, Selina Kyle’s outfit. Sunsets have a lot of different colors; you see that on their costumes — oranges and blues reflecting off everything, off the puddles on the ground.”

An LED volume also helped Batman escape from police headquarte­rs.

“Matt’s mandate in the wing-suit sequence was, ‘I want people to think Robert Pattinson actually jumped off a building and landed without a parachute.’

“We watched action-sports videos, YouTube-Red Bull stuff. He wanted to emulate that style of photograph­y — they’d have cameras mounted to their bodies. He felt that gave a sense of a real action video rather than a contrived piece of cinema,” Lemmon says.

“We built a wind tunnel out of LED panels. We hung both the profession­al wing-suit performer and Rob Pattinson on safety cables to keep them suspended in the wind tunnel and forced a lot of air across the suit. That gave it more of a sense of realism.”

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