CounterfeitS set they used the critical elements of the Guard Room / Holodeck to evoke the sense of shooting somewhere in its many different settings, and to power the world seen on its massive LED wall was no other than Epic Games & # 39; Unreal Engine 4.
Which director Jon Favreau and the cinematograph writers and animators of Counterfeit trusting him was actually as easy as good guess for the old model – except this is about a billion times more sensible than riding your feet behind when someone turns a steering wheel.
That thanks to a 270-foot-high LED video wall, which showed locations from the snowy Maldine Kreis world to the Client's wrong concealment. These locations were organized in real-time, up to the shooting, and allowed Pedro Pascal, Gina Carano, Werner Herzog, et al., To work together as if they were in a physical environment.
The setup allowed the cast to shoot at multiple locations in one day, shoot at a certain time of the day for 10 hours if necessary, or even (literally) move the mountain in the background for better shooting. But you really see (or, rather, don't see) the difference when the characters are in a moving car.
The reasoning behind them makes the incident look ridiculous because, in fact, it's part of the gun, they were not added later. It's a good look at the future of TV and moviemuk, where Star Wars has been in the animal world for over 40 years now. And it speaks to a hope for a future where the sci-fi TV series can have all the production costs of a big budget release on infrastructure, where cost considerations have been made of tangible limits even a decade ago.
