Rising Sun Pictures (RSP) in Adelaide Australia bid and won 160 shots in Ridley Scott's Prometheus. The location shoot was well and truly over by the time RSP came onboard but as they found out, there was a major amount of work still to be done, working directly with Richard Stammers and all the other VFX houses.
Stammers had some very clear ideas about how he was going to have the storm sequence filmed. After a conversation with him early on, with the RSP VFX Supervisor Tim Crosbie, he was deciding whether he should shoot with full live action particles, purely CG particles or a mixture of both. He made the call to do green-screen in-situ, with large fans and smaller practical debris, and then fill in with CG rocks and further dust.
Richard Stammers asked the RSP team to 'muddy-up' the reflection as much as they could, while the shooting conditions were made conducive to keep reflections masked as much as possible. It was a toss up between doing a full match-move and putting new reflections in, which would have been very time-consuming, "but, it was a reflection on a reflective surface, and you could see through to the background, which for a face mask glass, was the face inside it. While it was a stereo shoot, we could pull source material from one camera eye or the other, and build up the replacement face if we took some of it off while clearing a foreground reflection," Crosbie explains. "There were a few areas where we were able to add clouds over the top. Fairly simple in concept but because the result is on a 15-20 meter screen in stereo, we had to get in there and be extremely accurate."
At the outset of being awarded a spot on Prometheus, after producing a few concepts, Stammers directed the crew at RSP to, "go quiet now for a month or so and to come up with the goods." This gave the crew at RSP time to get all the rig removals, camera tracks and mattes done at their own (fast) speed. The comp team and a couple of match-movers at the Adelaide site.