Matt Reeves tapped into gritty realism for The Batman, but visualeffects artistry helped shape the way the Dark Knight drove, fought, and saved the city.
Matt Reeves’ The Batman roared onto the big screen in March after years of development and a production — then release — schedule interrupted by a global pandemic. None of that was enough to stop the Dark Knight, though, and the film went on to become the highest-grossing film of 2022 so far while earning critical acclaim for its dark reinvention of the DC Comics hero.
Digital Trends: The Batman doesn’t feel like the typical VFX-driven superhero film. What were some of the directives and visual reference points you were given for the film? That’s a really good description! For that scene, they set out to shoot everything, which is really cool. Even in shots where they knew we’d be replacing most of it, because vehicles couldn’t actually do what they needed them to do for the shot, they still went out and shot a version of it. That’s a fantastic reference for us. And once it was all shot, we got into doing some pretty heavy post-visualization work on it, with rough animation on the film footage.
Our work in that area is a lot of re-timing. If someone’s holding back on a punch and obviously going slower than you want them to, we make the punch quicker. It involves cutting out different parts of people’s bodies and bringing a head to connect with a fist, or animating the head afterwards so when someone gets punched, their head gets thrown back quicker and then rebounds a little bit — all so you feel the weight of the hit.
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