WRITTEN COMPONENT ENTRY G.I.Joe//MPC notes.
MPC worked on the underwater battle sequence at the end of the film. They found it difficult to discover the balance between believability and style.
VFX Supervisor Greg Butler commented, “From the beginning, we knew we were dealing with slightly contradicting goals. The underwater look had to be believable enough for the audience to be kept in the film, but the battle we would be showing could never really be filmed. Given the clearest water that exists in the world’s oceans, half-kilometre visibility is about the maximum that’s possible. But many of our bigger battle shots required on average of one to two kilometre visibility. Because of this, we were constantly manipulating the amount of underwater look effects that were applied to shots. When the action was staged close to camera on wide lenses, the visibility almost reached realistic levels. It’s a common thing in vfx these days. We’re asked to show something never seen before, but in a way that can be called photo-real. So you grab onto what real reference you can and then stretch it as far as you can hoping you don’t break it”.
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