Blade Runner And Fifth Element Cityscapes Film Studies Essay

Blade Runner And Fifth Element Cityscapes Film Studies Essay Blade runner greets the viewer with a fascinating opening scene where the camera hovers over a vast industrial mega polis called Hades. The year is 2020 and overpopulated Hades is trying to reinforce itself. The place is filled with corroded skyscrapers which shoot flame and gases into the environment creating a sense of hazy and polluted atmosphere. Also, in this shot and in subsequent shots flying cars, called spinners, are seen moving around the cityscape. The entire Hades cityscape was a forced perspective miniature set with larger miniature elements in the foreground which get smaller and smaller as we approach the horizon. Special photographic effects supervisor Douglas Trumbull and his crew constructed the whole set on a plywood table which was about 20 feet wide at the back and 5 feet wide in the front. The actual horizon on the screen is just 15 feet away from the camera. They designed the table according the focal length of the camera, which provided them the base in accor dance to field of view of the camera. This sort of careful planning enabled them to build the miniatures just inside the field of view without wasting valuable production time and money. Chief model maker Mark Stetson relied primarily on etched brass cutouts as elements to create buildings in the shot. But because these cutouts were two-dimensional, they had to stack a number of them together and stagger them across randomly to create depth in the whole shot. states that by using this technique Trumbull was soon posed with a problem: â€Å"But as we got into putting the thing together, we realized quickly that the etched metal stuff would have given away the trick if we’d use it too close to the foreground.† They overcame this by building foam cast models and put them in the foreground. Those models were highly detailed and separately mounted using C-Stands. They were positioned carefully so that the camera could fly right in between creating depth. Another hurdle was creating the atmospherics in the cityscape. Director Ridley Scott wanted smoke and haze in the distant background to add to the drama of the whole scene. Douglas Trumbull created this effect using studio fans and smoke detectors. He first contained the set using black cloth all around it and set up the smoke detectors to trigger the fans. So when they fed smoke into the contained set, fans powered up and pushed the smoke around creating a natural progression of smoke in the environment. Describing his perception of the Hades cityscape, Mark Stetson states: â€Å"I just had this scheme, I just wanted to do it as a series of silhouette and smoke. I wanted the smoke to really be the light and the light to light it up. Everything about that miniature had to be lights.† The way light was used in this shot to create volumetric effects and reflections played a major role making it look real and credible. About 20,000 fiber optic cables (about 7 miles long) were used to light the H ades cityscape. The light cables were threaded up from beneath the plexi glass, on which the brass etched cutouts were mounted. They also mixed and experimented with a lot of interactive lights like axial, blinking, etc which created variety and helped improve the overall aesthetics of the shot.