b&a: I really liked Sandman in this film. There was something nice about the throw-back, but something new as well. How was he achieved?
Kelly Port: There were two parts to him, where he’s more humanoid and talking, and when he is in the sanctum. Digital Domain did a lot of that work. And then Luma did the sequence that we called the power line corridor, which is where Sandman is first introduced. And Electro is also introduced and they have that little battle before they all meet and then get sent to the sanctum. I have to say, if you’re able to see that in extended dynamic range, for both that sequence and the end battle, it really looks cool in that higher dynamic range. That electricity just pops.
Then Imageworks, for the end battle, they did the much bigger Sandman with big FX sims. There were a lot of big sims in the end battle, not only with Sandman, but for the shield falling and crashing through all the scaffolding and millions and millions of pieces all interacting with each other, the crane falling through Sandman’s head and all that good stuff. I remember when we were first interviewing companies, there’s a little bit of collective post-traumatic stress disorder with anyone who had previously worked on Sandman. And so I knew that going in, I had a feeling this was going to be challenging both technically and creatively, just to get that character looking right and behaving right. But I think we were successful in the end. I think it looked pretty cool.
b&a: Did you have the benefit of the actor for any facial cap for Sandman?
Kelly Port: Well, we had his voice. We weren’t able to get a lot of visuals on him, but we were able to get his voice for sure and we got scans and textures and things like that.
