Having already explored the vast photoreal toolsets of Ilm for “Cloverfield” and Weta Digital for “Planet of the Apes,” director Matt Reeves eagerly implemented their latest advancements for his vision of “The Batman” as a grungy, neo-noir detective thriller.
He principally utilized Ilm’s fledgling StageCraft LED-wall volume system developed for “The Mandalorian” to add unfinished skylines and Weta’s own virtual production prowess to complete the rainy Batmobile freeway chase with Penguin (Colin Farrell).The key was seamlessly integrating the VFX around production designer James Chinlund’s reimagined Gotham as a Gothic nightmare and cinematographer Greig Fraser’s ’70s inspired dark lighting (“The French Connection” meets “All the President’s Men”).“Matt wanted the Gotham cityscapes to be unique and special but still feel real,” said production VFX supervisor Dan Lemon (“Planet of the Apes”), who works at Weta.
“He wanted the forms, architecture, and the fabric of the city
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