YTread Logo
YTread Logo

Enter the Maelstrom - Snippets | Pirates of the Caribbean Behind the Scenes

Apr 22, 2023
I don't care that they're circling each other, you know, I mean, I don't think that ship can really turn at what distance do you start buying that you know is something you want to see? that today, well, we are not going to have time today, I mean to move in an hour 7 15 on Saturday morning and we are going to move the Black Pearl thank you and the Pearl on Saturday moves to its position and then we have moved them in these air bearings and I'll show you we're close. You may want to walk around the store and see what they are.
enter the maelstrom   snippets pirates of the caribbean behind the scenes
He played air hockey before this is reverse air hockey. of 50 psi goes in and inflates inside here and comes out and spins and forms a whole shell, so it's constantly doubling the air, so with all these little square inches that you add up here, it takes 55 multiplied by all those square inches this in This particular one will lift about seven tons 14,000 pounds this one will lift 106,000 pounds just one of the ships when they're all in full combat shape they'll probably be right about 750,000 pounds we've got a million tube lifting capacity okay come on put some bearings on air in this thing back up 50 and then back up 70 then back up 100.
enter the maelstrom   snippets pirates of the caribbean behind the scenes

More Interesting Facts About,

enter the maelstrom snippets pirates of the caribbean behind the scenes...

It's probably the heaviest set ever moved as you can see the effects have put eight bearings of air under the assembly less air pressure that's in the tire on your cars it's not so much moving it as controlling it once it gets up in the air it wants to do its thing we're going to use the forks as tugs and they'll just push it for us we're short of water we're short of sails and we're short of wind so this is the hollywood way of moving a ship check this out when i buy this on a wide lens so this distance was fantastic it moved so fast it was cool man so we can move this ship in probably about 45 minutes to anywhere they wanted on South Street Gloria yeah I think so I think anyone you know you get a smile you get you get that's the same as three two one This is the display setup Biggest Blue I've seen a lot of blue because I think this may be the biggest blue screen I've ever seen.
enter the maelstrom   snippets pirates of the caribbean behind the scenes
The engineering is pretty impressive on all these things from what I've known and seen. It is probably the largest blue screen ever erected. This is basically 250 by 250 blue and black screen, I think at one point we had all the fabric in town. I don't think they could make a blue dress if they wanted to in L.A. right now, we use every piece of blue fabric I think they know of Man are you ready? Okay here we go, we've got this blue screen stage to put all of our ships on so we can shoot 360 degrees for all the


enter the maelstrom   snippets pirates of the caribbean behind the scenes
We could show a blue screen around all the ships. to isolate one ship from the other so we can cut it in half so that sometimes we would shoot one of the ships against the blue screen when we didn't want the ship next to it, for example if we're shooting the Black Pearl and we didn't want to see the flying dutchman because he was too far away and later ilm would put it we would put it shoot blue there ok here we go outside a lot of pixels to fill it what if gimbal allows us to manipulate the ship it simulates the ship is in the water , basically moving, you know, port, starboard and stern, those big things are the hinges that go on here, basically like your big Lego set, right? to put it together, they attached the hydraulic system that we had to design and we had to create this monster in three months.
It starts with a request from the art department. we need to have this particular look and they can even progress to the earlier stage where they'll have it, you know, CG animated and we'll see the emotions they want, then comes the actual build of what we had 150 special effects welders on this project and we were working on 24 7. 16 square tubes like I said there's over a million pounds of steel some of the steel didn't exist a company in Arkansas made some of the I-beams for us for the base the Hydraulics team actually I mean they just gave step up there's over 2,000 feet of hydraulic hose everyone on this project the 150 special effects guys that worked on this project gave us 150 percent and it's a great honor because there's a lot of other guys could have gone but they chose the geography of our team well I think the ship was over this is a tough blue screen situation because there are various things that intrude on the blue screen there are special effects teams there are stunt teams and then there is everyone the atmospheric elements are raining so much that at certain angles this blue screen is completely obscured by the rain and we also have the wind carrying the rain almost horizontally and then when the wind hits the rain it drifts downward which disguises the screen blue even more so it's kind of a game of give and take between us and the visual effects sometimes john says they're crazy we can't get them out of it but i can tone this down a bit take a little bit of saturation to get back to score if we filmed with a little less practical rain on the set.
I can always add a little more. I can always make it a little denser, but if you're shooting really dense on the turntables, I can't stand it. I'm worried that there's something like this, the dynamic isn't going to be what you want, so I'll try to get rid of it, the goal is to at least be able to see the Maelstrom to some degree. you're really in this storm you barely see the bottom and this is what it would look like you wouldn't see sharp dramatic clouds if you're shooting a medium shot with a shower of tarantulas that you just don't actually see so this way we protect ourselves , it won't look fake sometimes we pull it back sometimes we zoom it in and create this kind of frame for john to start with the alien you want to extract as much rain as you want to keep it in the final shot so he's trying to extract all these really fine details from the latest Mr Rain clip and it's just hard under the circumstances, the Big Challenge was that it all had to be done in a very, very short amount of time. so i wanted to focus on the ending of


three the first thing that comes to mind about


is you're doing a trilogy and a trilogy demands a climax a trilogy demands the feeling of getting somewhere and when you don't have to start it's a very scary thing, Deborah lunges at us, we're sitting down, we want that beat to be the starting beat, so the creation of Maelstrom involved Terry and Tim guessing all our actors, but Gore is the master of Gore is the one who orchestrated a lot of the ideas you see on screen most of them came from Gore we got Jack off the brick too early because we haven't released Calypso they haven't thought of anything so he's kind of out of break wandering around on the ship , what if we take the second scene and move it during the battle? to flesh out some of these ideas these guys go this way those guys go that way and you drop in we're writing the script with the storyboards right now he's done originally the ship was going to go through the Maelstrom to get to Davey Jones's Locker it was going to having to go through this whirlwind and then Gore thought no let's save the Maelstrom for last for last we had a ship to ship battle in the first movie and it's like wow do we really want to go with like? a big ship to ship battle but once the idea is in a Whirlpool oh yeah I haven't seen it before that will be spectacular I think probably first the sky and then me like the first lightning strike the sea and then it starts. to move around and so you kind of get those two worlds, the ships that we introduced in the first movie, The Black Pearl, fighting the ship from the second movie, The Flying Dutchman, when you get that and walk away, there's a sense of relief , we have our climax off. daylight is basically generated by the skydome that's why we have about 1200 space lights and they also fluctuate because the boat rotates in a circle so we came up with an idea that partially part of the slide goes up and down . a dimmer to create the effect of a northern sky and a southern sky three thousand numbers 12 weeks 30 people a day and these are all lights and depending on where they look we will put different sections of the lights at different intensities so that the numbers blues are the ones that we can actually fully dim, they can go from zero percent to one hundred percent because of how many lights we have because we want to be able to control have maximum control of those lights we have about 3,200 channels of dimmers here on this job this is a rack of dimmers it's a control unit that sends uh power to the lamp once you tell it can you show me what it looked like before lunch please we got this console called Whole Hog 3 we can program anything on any configuration we want.
I can see what each light is doing. It shows me what exactly I'm playing. What lights are on so you can see they are starting to show up. Now go ahead and save. your lights please go back to cool down mode. Dom's tea character is her. and she spilled over the ship. Gore came up with the idea of, well, you know what happens to these blue balls and we all thought well, oh my gosh, you know, I mean you'd have to have 150,000 blue balls overseas. blue ball test we dropped different numbers of balls at different speeds different heights we had a ramp the ramps had different angles and just trying to get the most out of the balls as it hit for the actors after doing all the tests we found that 35 feet above the deck of the ship was the height at which we needed our nets.
We had these three large networks that contained almost 80,000 per network. The falls plunged 35 feet into ramps that projected them toward stuntmen. pretty spectacular it was crazy to see it's really a visual effects shot but he loves the idea that they have to interact with something we think it's the big cosmic joke to suddenly end up in an airplane hangar in Palmdale drowning in what feels like a big magical arcade its amazing to see a bunch of 40 and 50 year olds turn into three year olds and they all had to pick up blue balls and hit the other guy on the back of the head it was like time for the parents to come and pick up the kids check one two one two other tests we'll be wet for three months it all starts on a sheet of paper and a napkin usually at some work lunch and then you know 600 very talented men and the women come here and build all this.
This is the first shot of Maelstrom. He is a great teacher. of the ship to a close up of our forward side of the helm so here we go it's the start of things our tracking shot starts at the extreme bow moving up we'll see those people on the bow leading to the ladder so the bow has to be active and I think it plays into the fact that your ship is under attack and maybe work with some of those ropes and all we have to work with is that the air is as important as the core depth in terms of the countdown that we have It'll start like this, we'll do a setup and action on the action that you start to take and then very quickly, based on Zach's execution, you'll be in what they call the voice of God , where is a speaker system above and it.
I'll be counting it based on Zach's visual, yeah one is basically correct when we see those rounds. Let me frame that right after a pitch and that's really our window to see that we're moving a lot faster now so the only items you now have to worry about are the pots, the debris, the ball, so that's not them. it will hurt but what it would hurt is if they hit you in the face ok ok everyone good everyone looks fantastic yes foreigners so far very good shot one of about three thousand we built all the movement bases in three months first we built the skeleton of the ship and then they built the ship on top then we started building the towers that hold it up and there are authorities on the ship that make the ship move up and down and then from there we have to hooking it up to a computer when you get to that point you pretty much have to walk away because it's like watching paint dry with these guys but they're patient and it's just them. they're great at what they do and they don't turn it on until every bar is in sync every graph is there what we have here is a motion control computer system running black pearl and flying dutchman we basically generate whatever we want the ship to do it by just typing commands we had some preset moves a few days ahead of time so when the director sees it he can make some adjustments here and there we're going to 30 degrees this is 10 right now that's fantastic I think . when the deck is wet it's going to be a bit of a problem and we have pressure sensors in Virginia we can look to see if there's a problem we know how much weight is at one point on the boat it's a safety issue plus it also tells us what's going onin case there's a problem, so once we have it's all set here.
Put the boats in a level position and I'll hand it over to you. He controls both phones. It's an awfully big video game. on it which is very realistic this is probably one of the smoothest moving bases you can't even hear it run and this is a testament to the guys who built such a smooth fish. I'm delighted that we can do this. I mean the first time I saw it go up it's absolutely awesome to see that ship move like this right now we're riding our lift in our grip The department put it on us so this was put up so we could get the cable up to the higher levels due to the amount and weight of this it was the most efficient way to get up the amount of cable we needed sadly it moves at seven seconds a foot at about 80 feet it takes about eight and a half minutes to get to the top oh that felt good we're in you're in when they call lunch and when they call rap it's going to take you an extra 10 minutes to get here so you have to be a little bit prepared for that. an elevator moving slowly but carrying a lot of weight so it was a big thing thanks for flying with us today please be careful i sit in the car let's go it's the most amazing thing i've never been on a set like this and i thought i was just me because I'm from England, but I actually asked Jerry Brookhand.
I said that he had never seen anything like this before. He said, well, me neither. This hangar is where they built planes. I think they are made to be. a bomber there so it's huge when we were contacted to build these movement bases for this segment of the movie the first thing that comes up is what are our requirements and lots of space that's what's required we needed a place to build two The mid-size ships and we have the full deck and a lot of the side of the Black Pearl, I mean, they're big ships, Palmdale Hangar ended up being this place that was not only available but relatively close to Los Angeles that we had. a great foundation we had a 12 inch thick concrete floor we could put any amount of weight on it that we really needed each of those foundations to move with the ship weighs a million and pounds the floor had to be perfectly level the buildings are cleared for 70 feet and then there's another 25 feet above that which is where we had the lights and walkway systems tucked in the only place they could film was here in Palmdale it's huge it would be the size of four or five footballs fields when we first explored it was like what are we doing here there's just no way we're going to fill this place it's huge well a month into filming like you said every nook and cranny on that floor had piece equipment fixed and then we If you knew there were eight sets, I can't imagine doing it any other way, it was the best place to do it and it turned out great.
What we are doing now is a huge logistical undertaking because we have two ships in it. it looks like them with rain and everything that's so logistical to make it work is really complicated no, it's going to be very soft light, but I mean, look at this, we're just shooting something so big that we're going to run out of space immediately. so every inch we can buy is this owner initiated no apps no one up there we are further up the walkway system we are building in the hangar here for all the lighting they are going to install now it is walkway systems safety rails and everything which is unbelievable as you can see the electricity has run over a thousand pieces of wire up and through the wall into what will eventually be our own personal network thank you very much 12 hour days.
You are up here. putting the wire in the house the end was 1400 space lights and several miles of wire our rigging department did a wonderful job putting this rig up this was a three month job to put this up that's all there is to cleaning several rental houses from various pieces of equipment all the soft suns in the united states are hanging here uh a good deal of the space lights in southern california hanging on this building theoretically it's very easy to draw on paper but getting it done was a job guys did remarkable, they've been in the business 35 years and you can see he's one of the most talented painters and this is my wife Anna Marie, better known as sugar because she's so sweet and she's pretty good herself. it's all the pictures of the first boat in the Bahamas look there that's a nice shot there it's beautiful yeah so that's what we're doing to match it exactly and we'll paint it to look like this up here It's all the processes, all the paint will keep for two months, it seems like it's great so far, we gave it a coat of this material called supercrete, which is a very waterproof product, like concrete, and then all the epoxy paints . you know everything beyond that so it's very strong just be fun let's see if it looks like I'm going to throw in some textured green moss too so yeah I'm just adding colors to this moss here it's going to hang out from the dutch red, green and yellow to give it more life comes out of the package looks too dull want to have some life rain rain first rain of the day more rain today turning on the rain and let's rain on parole please torrential rain i mean it's a lot of rain again that's the theme of this movie there's always water if we're not on the water we're not in the water we're not filming in the water we're going to rain on it 50,000 gallons per minute is a lot like rain on the dodger stadium this is more rain than has ever been created on a movie set we spent about two and a half months in the rain it was a downpour and it looks like it in the movie ok that would be true and you feel it when were you there.
Hey, Joe, let me know when you stop. weeks and i finally got the look gore wanted when it's just raining outside you don't care what size you're making a film the size of that raindrop is really critical we got 72 heads of rain on that grid system on the roof we got rain for bins about 240 feet full of water its a lot of work and hopefully everyone likes rain our favorite part of the day was the first time it rained it was freezing so the guys were too wet because the rain of course it would go into the pipes overnight you're in the desert the night got cool and you were fine you turned on the rain and you just grabbed and shuddered a lot and then it got hot it got to a point where it was tolerable it was amazing i said i can get the rain in there no problem but my biggest concern is getting the rain out of here we're not raining in a tank we're raining right on stage four the giant recirculating when it hits the ground it goes into these grates in the floor that they recirculate back to a sump pump system in the rear which pumps it through another filtration system and preheats so when it rains again we don't get our actors cold Heating and filtration systems like you have a pool if you pump the water, it goes up 80 feet, it's raining on the set and that's cycle one of the challenges in creating a storm sequence, obviously you have all the elements of special effects rain and wind but you know that when you're inside you're creating an outside environment you're creating the light of nature the light of god you can go to three bubbles and take them out of the queue please you have to have a huge overhead ambient source that will wrap around like the sky does so it feels real doesn't feel like you're in a scenario was talking about this scene he envisioned part of the sky would be brighter and part of the sky would be darker and as the ships turn they turn towards the brighter sky the darker sky so he wanted to try and recreate that here on stage, so we designed a chase sequence with our lights to get brighter and then darker just to sort of recreate that spinning feeling and then it goes into your hands.
I think the stuntmen handled it pretty well when we go up to 20 degrees we can do just fine but if somebody falls they go right down to the low side so this boat is going to list at 20 degrees to 30 degrees and at that point I'm going to have have to wire everyone to the ship this is to keep it from hitting the ground three ring quick release even though we are well planned and everything we get close to is a little unknown every day we have to find out as we go they have armor on the back the wetsuit wardrobe gloves on cups we're about to go from the Flying Dutchman to the Black Pearl I think it's 75 a b and yeah it's fun it's more fun sitting behind a desk what if we feel good it's designed for that we have these surfaces Loops can't really fall off otherwise if we fall off we're in the wrong job okay here we go this seems like the best day oh yeah I've been losing sleep over this for a long time bring all the way we are going to celebrate the rain and the foreign wind, it's great to have a second chance on a set, it's really unusual, but let him try it again, it was great.
We started building this in the warehouse. I think we assemble this into three sections. I separated everything and loaded it onto trucks to get out here. The other one to our left here. This is the Black Pearl and as you can see they are moving. Right actually the painters just got here yesterday this is identical to what you're actually looking at the aft section had never been done until this the main deck in storage so when we got it here you know it was a good concern that everything lined up and everything went perfect the sculptors already attacked it there is still a lot of work to do but hopefully we can do it in the next month or what we do is take a spray polyurethane foam and shoot all over the ship and then we sculpt it to look like it's growing out of wood and then add rubber barnacles to it to make it look like it's been under the sea for a long time check this out oh fantastic in the third movie there are over 2000 visual effects shots john owen and ilm had a really tough task usually when cities like that get taken down you think well how technically we're going to run this and is there some aspect of that that you can't do with our current toolset there's a lot of research and development and various artists working on developing the look of the Maelstrom writing some new software tools and making it all possible wow that's fantastic John Gore is very convinced and I agree with him that it's important to have as many real elements as you can make real, the more plausible it feels to get as much as you can on camera and then use visual effects where you really need them it's raining and storming and giant waves and white caps and the foam on the water and spray there's really nothing you can pretty much shoot for that so all the water needs to be completed generated throughout the smooth simulations take forever to run use a lot of memory and require a lot of tweaking making them look good seeing ships at sea is something people do with she's familiar, so it's important that those things look real because they're part of her people's everyday experience, the close-up is pretty tricky, and there's also a gigantic battle between the crew of The Black Pearl and the team of The Flying Dutchman, so we have data-generated characters in the middle of a lot of rain, atmosphere, and splintering wood, so these things are a little difficult to integrate and make it seem like they're actually present. its too late to see the sound of the car it helps to switch back and forth and not rely too much on one technique so in one shot we will have a background stretch which is a thumbnail and in another shot we are doing something with CG as long as you switch things up a bit the audience won't focus on being able to see the artifice of a particular technique and just keep switching between practical effects and CG and thumbnails and whatever you need.
Do I think I will finish with a better result behind me? We call our cable drops cascades this is basically because it's almost like a cable cascade running down the side of the wall each of these come in 100 foot links and 50 foot links most of them are 100 feet, so they go from here and up to the waterfall and up to the net. Each of these wires has 12,000 watts of light and then from there they connect another 100. foot, you know, to go to the lights, we figured out how much wire we've run in this building and it came out to about 80 miles of wire, that's a lot of cable, ok, going over, safety notes, same safety note Supply every day today we start our day with the aft piece of the Flying Dutchman, but we'll be using the rain debris edging mechanic as usual, For the most part, the debris is safe, but if it explodes in your face, it could do some damage. anyway, just take care and thank you very much, get rid of some water,water, electricity, very, very bad, ripple, you know that's the way it is, currently that sport is frizzy with you, you know what I mean, so you've got the guys moving the ice. of how curling is really cool the team effort really takes aVillage Jack thinks a man from the village goes back up right away this is the retractable sword and I'll kill Orlando with it right here it looks like it really hurts we'll create extreme environments ourselves themselves, basically, you will say wind. machines and lots of rain machines and we're not going to get into the environment as much anymore although we have some water work left we're going to be doing a lot on stage and we'll be creating that feeling on stage everyone knows something about what happens on the mail flow the only man who knows everything is gorbinski looks at gore wandering around and he's like a very small child with many toys and they are very big and he likes to use them.
He had never seen the right person be in the right place as profoundly as Gore in these movies. Gore walked up to us and pretty much said, did you see the first two?


. I said yes, yes, we saw the first two. and we were involved in the first one he says ok i don't want to do that get him out of there john and then he says we're going to go one step further this will be the biggest thing you ever do when you go to palmdale there's over a thousand people working on these shots and actors and technicians and people working on the mechanical effects and he has to orchestrate all these things to perfection to get what he wants in front of the camera, so we're probably going to throw a whole bank of Raiders here, just outside of framing an entire bag in a mail stream.
We never want that classic smoke to stay around. his head is very impressive when you look at his scale what is the circumference of the vortex circle at that point is it an oval as an actor you can hardly read the script and only trust gore i mean you know what i mean is he would never guide you mal knows exactly all the points that need to be clarified knows the dialogue basically i mean i think it's a photographic memory or something he's just a magician and we may be doing a scene with two massive ships 400 people the cannon goes off you know he's looking at the lighting is looking at the camera positions and he'll just stop and come over and whisper a little note to you about your acting that will make the scene work for you better know he's got everyone covered going exactly important he's been working so I can tell, 18 hours a day, seven days a week and apparently has an unlimited amount of energy when we're all pointing out that he's there, come on now shoot now shoot now just keeping us all going Gore I honestly don't know how he's able to stand upright after all he's done you've never seen energy like this man i think he's a robot actually alien good filming android I am a movie addict. let's film a very nice dry one it's all your film i've never seen the man sit down unless he's drawing his boards i've never seen the man sit down it's just writing for us the stick pictures cancel the day's work every day and these are logistically as complex as the ones I have worked on.
Let's do it all over again. You know, hang up the sword and paint it. Go for the moment of the claw. You know, fake the snap and cut somewhere. hard at times not going to lie to you this Canon is going to use all four guns and we just say you can't do this with these guns and there's no way he's going to be a difficult director to work with sometimes but in a good he wants what better but not just wants the best for the movie wants the best of everyone wants the best of all of us is involved in every aspect of movie making never runs to a trailer and hides in his trailer that he is set in the beginning in the end she gets as wet as everyone else she gets as dirty as everyone else you are a positive attitude we only have a few more weeks she has a good relationship with the team she does not know how to service these are good who is in charge you were 17 when this started she he's 34 now of course unique talent you know he's someone who has a vision and it's a vision that, like any great director, is unique in itself you really can't question the demands when the director demands as much if not more, of himself as of you.
I think that's the definition of great leadership. I can't imagine anyone else doing it and I can't imagine his work being done better than he's actually done in these movies, thanks alien this is a pain in the ass to put on but when you have it all it looks great, there's themed things like four layers you have your underwear and then you have your pants and sometimes you'll have a vest this is layer number two three here are the jackets some guys say it's about 15 to 20 20 pounds and here are the boots and they have, uh, I don't know if they've made holes, but some of the guys have holes in the bottom to go through and drain the water as well.
I'm wearing shin pads and knee pads underneath and I have some soft elbows and my back pad that I'm going to put on before I put on anything more than a layer of body armor type of thing it's pretty much completely covered no holes or gaps or anything , our process for everyone because it's just layer upon layer on the pads that go underneath and it's pretty heavy. It's also important that he put his pads underneath because George never likes to see towels, so make sure you hide everything underneath. I move quite well. These guys like Spencer and the Costume team are amazing.
They keep us moving. I'm not going to put that up because that thing is like another five to ten pounds, so I'm just going to relax on the page, a Maelstrom began. I think one of the biggest challenges with a movie of this scale is that you can't set it all up at once, so we've been moving one of the things onto the set for consistency. I mean, it's just a day for a day on the water or not, and until you fully get to the former, which is almost a storyboard on the computer. the whole sequence and it's a very long and tedious process it was one of those sequences that you couldn't have done without a forecast there was just too much going on how the rain works what are the camera angles getting all those high camera angles looking down at everything of that has to be mapped you can't figure that stuff out on the fly it would be great to see a framework like that for you you saw these guys coming out of there you know jumping they go that way and they go to the other ship but until you finish doing that, you won't know exactly what the sequence is and then from there you can take it and we sit on the first ad and Gore we sit and split that up until it really happens that you don't know how long colons like that can take the movie to the outside, but it will be very hot for the guys here so the hottest part of the whole system is the cable that connects it thats what is very hot also it happens that we have to keep the cable as cold as possible we have 100 tons of air conditioner in here plus all these fans just to keep the air moving as much as we can we have temperature gauges showing what each different area is really cool right now it's only maxing out about 96 degrees it's going to hit about 105 110 depending on how long you let it burn with Scotty and Chris on the board checking that down there if they do have a problem they can tell us and we can fix it here.
We have to keep the cameras there so we can look for smoke. Being prepared is the most important part. 100 tons of air conditioning. this is our generation. Generating station we have 10 10,000 10,000 amp CAD plants so I'm capable of generating a little over 100,000 amps for power here we also have some small generators online that we can run some special effects needs and things like that is our one of our main cable runs is the four rods that come out of all these main plants each one of these cables is capable of carrying 400 amps at 120 volts but it all goes to 480 of the plants and we narrow it down to these The transformers here and this uh they take it from 480 to 220 power to the stage anything that falls on the ground even vulnerable to rain or water from effects guys should be protected by a ground fault indicator. that goes to the floor has to be powered through a GFI, so we protected everyone on set and the actors and crew from being electrocuted by running all power through gfis, we had to have enough power to be able to run all simultaneously and that's why we have so much power we have enough power here to definitely light up a small town my name is harry lou i'm the gunsmith of the show i deal with all the guns we search everywhere to find these unique weapons and some of them belong to the museum sometimes just amazed to see guns like this survive all these years here is an example of the Queen Anne in the foreground we have a reproduction of Peter Soli the newer one is more reliable we have more of these as backup on the day we shoot we go to kill some pirates some pirates will blow things up thanks kelly probably using these the second one is actually a 1700's peace period and the one in the background is an authentic early 1700's piece if we're going to shoot it in the rain or in the In the background, reproduction is definitely the go-to, but to get a lead actor right in front of the camera, we'd rather show something that's authentic, not a pirate gun code if you were the first to see a ship. you got your first pick on the gun and after that the captain got a pick this was the predecessor to this six shot right there double barrel you put both down the second shot is the base of the ducks you know little things we wish would bring a little smile to our audience, we have dry air systems that blow water out of the front of the lens, there are matte boxes that have air hose systems, so when I turn on the switch here I can press, air is shot out and there's like a little valve on the front of the lens that basically blows out all these water droplets that form on the glass in front of the lens that's how we see the images we have hi my name is lindsey gary i'm an assistant in the art department but right now I'm working on some of the Canon hits that will go into the Flying Dutchman during the big Maelstrom sequence they'll shoot cannons at each other so right now we're aiming where the cannon hits are going to be and then the build is going to work that magic and special effects and it's going to look amazing we're laying out where we're going to place the Cannonball explosions and going over the method that we're going to create the Breakaway units so that as we put them we can change them as quickly as possible and it's really tricky because there's a structure that holds the boat together and all that, so we have to work and shim it around the whole thing cutting some of this back and end cuts out some of the fragmented resale so it pulls us apart like a thread trying to age the whole thing and make it look like an old alien the storm and the pirates of the


part three that shining armor on the show is called cherry lou and at first we were talking about putting a little piece of leather on top of the hammer in the prison to cover it so that when the If the prison were to open, the leather would keep the rain out, but the rain came down so fast that, uh, you know it instantly got wet, so Perry and I think Peter developed this, put a charge on it, this is the gun Jack, uh, where he shot the rope, he and Elizabeth escaped from The Flying Dutchman, it's very difficult and very tedious, we loaded the gun and then we sealed it with beeswax to seal and keep the powder dry.
Yes sir, you will keep it at this angle. Alright. you can't miss oh no thank you will and elizabeth marry Barbossa while fighting which I think is probably one of the biggest things to ever happen in a movie they both get married in the middle of this battle doing a ballet. of marriage and death at the same time, it's not just a battle, you know, it's like a waltz upon a waltz, you know, when I first saw the routine, I was like, man, this is so corny, but actually when I saw the specialists to do it and when you put it in context and on the set at the Black Pearl it is something very romantic very romantic pirate type as you know it is a very different choreography within a battle and it was complex it had to be correct it had to be them the most of the time actually doing it because it's intertwined I think I had about three sessions and then the whole stunt team was working the whole time so we couldn't have any more sessions so we prepare and have to learn the fights on set so Gore is giving us a five ten minute walk and we're learning the fights there and then you would have waited a little bit longer to get ready we make a rough map of the territory we're filming when we rehearse it but it's a very different thing the ship is going to tilting the rain is going to pour down is something else entirely i mean mind bogglesreally for two actors going into the wedding sequence that we shot without any kind of prior experience it would have been alongside Impossible and we have it here today and uh Barbosa performs the ceremony in full battle mode theseMayhem Incorporated just runs people through while retaining his glorious character throughout just one kiss well these are these stabbing cars it's a silicone skin with Barnacles on it obviously so it's David Jones they have two balloons on each one basically representing the heartbeat so we connected. these little pipettes and inside is a bag of blood, so when stabbed, blood will leak out of the top.
I can take them and put them there. Does anyone have a brush? I'm losing them like hamburger meat. I need a grill and some buns, oh shit, it's ready for you anytime. Start fixing yourself there and I need a heart that I can take and put in the ground just to align myself. he and Dave's question was how long does it take to reset each time we stab one well we have three that are ready to go and we will tamper again we tamper one as you use one and we can't use it again we will bring it in the fourth, yes, and they want to know how long after the heart is back in circulation, how long is it?
I don't know, we've never done it. to wait a few minutes alright guys so definitely take a hit take a stab take a hit then drop your hands start over ready and action another little ready and it should be fine let's bring back a heart that look better. from somewhere somewhere towards the end of pirates three really as far as i can tell guarding the chest huh with david jones baby james harden grab it oh let's shoot it's amazing these ships are airborne and there are people fighting all over parts you know and you have to hit this mark when this guy dies and you have to be there for when this other thing blows up and you say ok it seems pretty straightforward and they say ok let's go for a bit in the wind in the rain and suddenly it's just chaos we get into some fights this time we can't worry we can't kill anyone we can't shoot that's not bad yes no no no we can't draw our swords or run anyone through with a Burnet no in spite of our honing you know you know military training foreigners are trying to kill each other however it will be too proper stuntman yes with a close up yes when you see the stunt it will be two really burly muscle guys yes what they know what they are. doing and in the foreground it will be us Giles is a bit happy Angus doesn't look so good I think we're too scared we're just cowards initially P3 seemed a bit distant no one really knew how we were going to do this so we figured we'll have to bring this to reality, we're going to try to perform it live somehow, so, you know, after I got up off the ground I started thinking about how we could do things. visualize everything you know I dream these things and you know I work visually and it's a good thing because Gore is a totally visual person we think big we put no limits on the visioning process you know we tried to make it work when I got the sets that were 35 feet tall up in the air with no railing and looking down and we didn't have the luxury of the ocean below to protect us it's cement I was worried about safety how am I going to keep everyone safe doing At these big events there are a lot of guys working here in battle mode, so when you are walking they can't see you from behind at first.
I figured we can't do big battles on these ships when they're at a 30 degree angle and we did that to let you know it's amazing what you can do. Some of my team have been with me for all three and some newer ones in P3. The main concern was making sure they were all good human beings and could fit into the team because every day we get tested so you want to work with people who get along and watch each other's backs all the humans involved were choreographed that they were performing on this thing at times i had up to 120 people there is a mortar going through here and there is an explosion here and if you go up and swing on this rope the wind will carry you this way.
I mean, a lot of things happened at the end of each day. Personally, I'm a braggart during all the misery. in battle and falling a hundred times and drenched and freezing you can hear the boys cheering at the end of the day oh big hand croissants i think everyone gets the feeling you know maybe we're doing a little more film history here when i spoke to My team, you know I try to remind you to savor this moment because all the other things you know fade with time, but look around you, hug the guy next to you, whether you think you should or not. there was a lot of sweat, tears, blood in some cases and a lot of love went into this project and I hope you all take it with us, you know, as the years go by, okay, here we go, set, set and action and cut it, cut it So. let's go for a walk for another walk by uh Lisa and Zachary are going to pick up their pace a bit because his face was slower okay wait here let's go ready and the action I've been forming in front of people since I graduated From high school. get used to being in front of people and acting and I would learn from anyone who teaches me stunts and sword fighting every time you see me in Gray.
I will perform for Bill. It's a great honor. I must add, man, this is amazing. I do? I just do the faces and started creating my own little style between martial arts and sword fighting that I had learned over the years and developed a confident and really effective style in front of the camera where it looks absolutely real but absolutely has to be sure whatever the movie calls for that's the style i want to learn foreign we also have 250 000 watt lightning to simulate lightning around black pearl there are 10 of them on the roof and they are all controlled via this controller through one of this controller and this controller we can set the lightning to any duration we want at any intensity we want this is the muscle of the rig and the dash is the brain inside these things are like 26 motorcycle batteries standard batteries that you have like in a motorcycle or car those batteries are constantly charged only through a normal household socket when you press the power button these let out a huge number of rays towards the light that is what makes the big rays flicker once again you know this is another one of those situations where it's so weird you don't question it anymore they take you an hour and a half to the desert you're going to go through the process go through the construction go into this building get on board the Pearl or the Flying Dutchman and we're going to get you drenched and you're going to sword fight and you're going to be at an angle um and you're just going okay okay no problem the last 10 weeks shooting the movie they had nothing stopped filming that wasn't under a torrential rain 10 weeks is a bit brutal, you know, I mean, when the rain falls, they open a trench for you from when we start filming, which can be at eight in the morning until we finish filming, which can be at eight night, you know, or later, oh my god, how wet a man can be, how wet and cold you can be, it's just unbelievable.
I counted nine straight days without being dry when this costume is wet. I'm 45lbs more and then I have a wetsuit underneath you can barely move but you get so much adrenaline the day going for this stuff that hopefully you rise to the madness of the moment with wind machines that if you're not careful they stick eyelids to your eyes , you can't really talk because you're standing there trying to stand up straight and when the wind blows the rain is and the rain is a real big fat rain when that's happening all your ideas go out the window that's the beginning and end of my action career.
I wouldn't call it acting. I call it surviving. We're working on some sort of 15 incline and you're running uphill doing a sword fight in pouring rain that's literally in your eyes the whole time. and you've got a whole crew of cameramen coming at you and just trying to see where to hit i mean i wouldn't say it's the safest thing i've ever done and your glasses pop and the whole world is a blur and you're like oh god man there's a stuntman coming my way responsible I think we got pretty used to it got almost a bit pragmatic now I got to go on deck and fight and kill 13 men the yardarm sequence with Davey Jones and Jack that was another guy awesome, how can we do this? and you know on paper you can't conceive of two humans fighting on a round dick as it spins into a foreign hurricane thomas dupont who is my stunt double who is he? totally and utterly brilliant that he's not just doing The Stance, he's also doing it as a character.
I sit and watch him do that and I drink a lot of Yorkshire tea and I have a donut and when she comes out of it I shake her hand. Maybe she's out. of a race, you may have to sue or make them kill them abroad. The stuntmen say they have never seen this type of sequence before. We didn't come up short on choreographing those things, you know, we made them real and different and special, so I'm proud of those things for sure, all good when we first did it. we saw this shot we were really nervous about how we were going to replace all those blue balls with crabs usually when we have a blue screen it's pretty clean and you don't have all that shading on there but John's vision was that all of this it would represent and simulate the impact of the crab so you get a good idea of ​​how they will flow over the characters they were very helpful to us because they provided interactivity they gave us a very good model for the type of energy that Gore wanted in they were really good at casting shadows and to move the actors along the rig in a way that would have been very difficult to achieve otherwise, we potentially could have used digital doubles for that, but some of the shots are very close and it would have been difficult to make them fit. look realistic everywhere you were there was a black hole where a crab would cover it so it wasn't as daunting as when we first saw the plates I think when we first saw them as composers.
We said, do you know how you're going to get a uniform blue screen? There were some balls that were flying and they might have needed like a mock hero crab just to go in front of that blue ball or we painted it and finally once they're nicely replaced with crabs it would feel a lot more integrated and correct and there's our result when we got to Pirates 3 we thought we didn't have any more work to do really on character development it was going to be part 3 a very smooth straight forward process but it became apparent pretty early on in the Maelstrom choreography that we didn't have enough Dutch characters to cover all the action that was happening in different places on the different ships and at the time we didn't have enough time to do them the same way we did them in Pirates it was also a very laborious design process because of the experience we had in the first movie we were able to do it much faster than Pirates as well and to take all the technology that we developed, all the new tools for our characters and just put it to work and we looked for opportunities where we hadn't taken them before or tried to improve things if we had that one. idea was used in the last one but maybe not in the best possible way we looked for a way to do it better this time around pirates 3 we gave artists a lot more leeway we had looser designs for what the characters were going to being, we let the modelers use their own imagination, just do something cool with it, it's so much fun to be able to basically invent your own pirate and be able to figure out what they're going to do and how we're going to start building it in the third, the inspiration The main one came from what the marine life had when we explored but what are the things that these guys can get infected with but the way they get infected or the way they curse themselves, they had to be treated like an infection or a wasting disease for you to buy progression we hadn't done anything with the sea urchins so we made a guy that's basically a giant sea urchin with these big spikes all over the place one of the guys we developed was jellyfish we called it jelly and one of the things that I tried to do with him was I wanted to make him a little bit translucent and corrosive, I wanted to give him that equality of him was a little bit regressing to like an amoeba or like an embryonic stage in a lot of cases, what we did was borrow existing characters so you could mix and match things to try and create something that looks absolutely different from any other character some of the most interesting designs Gore thought of clever ways to use them.
One of the characters was this eel man who has more eels per head. Gord decided that his signature move would be to engage in close combat withsomeone who immobilizes his sword and then uses DLT bites him in the face many times you get things like that that push you to go further so I think that's one of the best things about working in a facility like this especially in a team like the one we had in Pirates. because it was just some kind of people brainstorming and that can only help raise the quality of the work oh it's visually, I've been a very bold idea, it's not just a virtual ocean, it's an ocean like you've never seen before, homework main r d was definitely the Maelstrom finding the look was very challenging once you try to make it come to life so it stays in every frame of the film there is a lot of challenges there the amount of detail and the scale and it really took everything that we did here on ilm at its limit it required a huge amount of computing time I mean it was just mind blowing and it was important to say that Maelstrom was just another character and he had a story to tell when you see a wave there is something incredibly complicated going on no it's just a simple process that you've got all the water molecules and it's all interacting and it's creating foam and spray and mist and all kinds of chaos is going on but it all has some science in there you know we have a lot of references I mean, we have real world ship wig references and elements and you have to simulate in the computer all those waves and everything that goes on and get something that works for a wide shot where you just have a massive volume of water and then you travel down and you only look at an individual way, you couldn't use miniature water because the scale of the miniature water wouldn't maintain the level of detail that would be needed and the fluid simulation engine we use is a starting point that gives you a lot of natural movement in the underlying water surface but then we have to really remove this environment it had to work from all different angles all different scales and there were Bosses that had to happen in this sequence luckily there was a lot of atmosphere in the air that was lost it was rain and drip and fog it made it blend better I think if it had been more dry air like just the shapes and weights the other challenges were getting the scale right and when we started making the shots look more Gore realistic really reacted negatively I totally hear what you're saying and see if we make it a little brighter yeah so we ended up almost tripling the size of the mouse drum the added challenge was we needed to be able to control to aesthetically get the look the director wanted through different iterations of how you can make it more and more efficient and how you can make it end up with the result that looks like real water and still does something creative and interesting and exciting it's really just a problem of photorealism if man doesn't it's inherently real and you're trying to make it a bit plausible we focused a lot on getting the details right but in the final film there are only a handful of shots that really show it so we put a lot of effort into making sure we had a solid foundation technically and in the surface of the water so aesthetically it all looks realistic we got this great news they're like oh guys you know they're going to be they're going to have this scene where they reveal you and it's cool oh by the way they'll cover you in feet a head with slime pirates of slime ribbian what is it made of? love there so what's it called oh I don't know I finally got to be a human look what you do to me fantastic every kid's dream to dress up as a pirate and then cover myself in glue.
I feel pretty, yes, you want. to feel like a loud dutch for these things i have to take off my sticky take off my costume all that skin on skin sprayed on skin and then off we go wig off look at these things this ain't so bad it's just for the day oh no they'll wear it for weeks they'll be happy to be back in Devo suits yeah definitely CGI was great get more face time like this but yeah it's a little more comfortable in pajamas it's part of the experience. You know, it's what you go through, where's the singing elephant?
It's not breaking a couple hours yeah it's part of Mr. Goldman's plan and I just keep game ready and what happens and that's it and a little bit of movement every little zombie like candy keeps walking around a little bit of awe looks ok check it out ok ok one thing i would like to do thank you jack sparrow and davy jones are fighting in the yard when he flips it over and when he comes back around the flying dutch with pirates he sleeps and snatches them i think pangoli rushes up and grabs his gun it's a good grip it's hard to stop the spin and i try when i go around i try to come back as fast as i can to try to find the cameraman again like you held it to the end if we could do that with a straight arm i think it would be a good go to be this is the golden knight is the one this is the one who will buy the popcorn because aha they have victoria play inventory foreign thank you foreign foreign foreign foreign foreign foreign thank you thank you foreign foreign foreign things

If you have any copyright issue, please Contact