Whether you loved or hated Ready Player One , odds are you were still stunned by the second challenge — yes , that scene — even if it ’s just wondering how the hell managing director Steven Spielberg pull off something so impossible . Now we cognize .
The upcoming prowess of Ready Player One book by Gina McIntyre explain it in contingent . It ’s out on April 17 , and we highly urge it if you ’re a devotee of the pic or if you ’re just odd about how all its many , many , many disparate parts were put together , which is a fascinating physical process unto itself — but none more engrossing than the 2d challenge .
Of naturally , the scene in question is when the High Five come in the Overlook Hotel from Stanley Kubrick ’s The Shining , where they hope to witness the Jade Key to continue Halliday ’s game . It begins with their avatar walking into the Overlook ’s Grand Hall , followed by several crucial location from the original film : the iconic hallways , room 237 , the hedging tangle , the ballroom , and more . And it look like the characters mistreat directly onto the set of the 1980 pic .
They did n’t , although there was talk of in reality rebuild the entire set of Kubrick ’s film . But since it ’s the character ’s CGI avatars who are in the scene , and not the real actor , the effect team eventually decide a digital diversion would cultivate best .
But how do you flex the nearly 40 - year - old footage into a complete , identical - from - the - original 3D surround ? Well , the team at ILM found a “ high - timbre telecine transferral ” of The Shining , scan it into their information processing system as a reference , and began to digitally hearten the localisation take for the moving-picture show . “ The legal profession that I wanted to reach was for anyone to look on it and go , ‘ That ’s a shot from The polishing , ’ ” senior visual effects supervisor Roger Guyett severalize McIntyre . “ It just happens to have our characters in it . Of course , if you ’re contrive unexampled scenes within The Shining or new moment or newfangled characters , then the camerawork has to [ change ] . We did n’t have enough reporting of the different scene . ”
When there was a shot they could expend from the original movie , they did . So while most of The Shining episode footage in Ready Player One is digital , it ’s combined with some original footage from the film as well as a few new physical injection . Basically , anything that include a genuine actor , like the twin or the bathtub lady , was built and shoot the old - fashioned way . Then those all of those elements were combined by ILM to make one , cohesive panorama .
And yet , all of the footage had to play a trick on the audience into thinking they were basically watching The polishing — and that meant more than just recreating the sets . It also meant the Frankenstein - esque collection of footage all had to be augmented to look like it was from that era — duplicating Kubrick ’s exact inflammation , creating all the props to see to it they looked like they were made in the era — even the grain of the 1980s motion picture stock had to be recreated . The attention to detail even include the avatar themselves ; though all the worker were filmed using public presentation capture , just like the remainder of the movie , for The shine scenes , the terminal render were sent through a “ grainer lens . ” The lens made them look less than double-dyed and fit better into the scene .
Stories like that fill McIntyre ’s book , which also has dozens and dozens of concept double from The burnished sequence , as well as every else in the pic . The Art of Ready free rein One arrives April 17 and Ready Player One is in theatre of operations now .
BooksReady Player OneSteven SpielbergThe Shining
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