And so what I found is – I stayed with that for ten or fifteen years – was I really ended up fronting visual effects projects in the sense that model construction needed such a lead time that I really needed to sort of figure out the scope of the work. And running the model shop for Doug Trumbull was a huge deal in my world and in the visual effects world at the time. Mark Stetson: I sort of came up quickly through the ranks in miniature effects and I think Blade Runner was my third or fourth picture. Could you give me a quick background of what you felt like your area of expertise was? Vfxblog: Prior to that you’d worked on things like Blade Runner and Hudsucker Proxy and Waterworld. It was Digital Domain 1.0 back then, and they really gave me a great team. And I was very supported by Digital Domain. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. Mark Stetson: I wasn’t afraid of the size of it. Vfxblog: This was your first visual effects supervisor role – how daunting was that for you? vfxblog re-visits the work, both miniature and digital, with The Fifth Element’s visual effects supervisor Mark Stetson. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. Perhaps most memorable are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. Back in 1997, the visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. ![]() Of course, Besson’s new movie is being made possible with major advancements in digital effects and animation. Luc Besson’s The Fifth Element is now 20 years old, a fitting anniversary on the eve of the release of the director’s much-anticipated Valerian. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots. ‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’.
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