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Granell thinks that most audiences will fail to notice the miniature work. That was done primarily for the flame, debris and glass window elements that worked better at the larger size.
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For the ending, when the fire blows out the glazed windows, 1/4-scale window elements were match-moved and then were reduced down and tracked into the 12-scale model. There was a 1/4-scale chandelier that was used in the transformation of the chandelier from its damaged state back to its earlier glistening glory. A majority of the models were built at 12-scale. Miniatures were used to extend the building past the top of the columns. An art department liaison served as model unit art director to keep continuity between the departments.įor the exterior shots, the art department in reality only built the square and entrance of the Opera House. Working out of the Cinesite Shepperton facility, model supervisor Jose Granell collaborated once again with production designer Anthony Pratt to accomplish the director and designers vision. They were also used to create a chandelier element using both the real and miniature chandeliers for the most violent swinging during the interior destruction. Visual effects were used to achieve the majestic exterior dimensions of the Opera House and its fiery destruction during the dramatic conclusion of the story. After the effects shots had been timed with lustre, they went to our inferno stations, where eight-10 artists worked on the effects simultaneously. It enabled us to control and maintain the director and director of photographys vision. With lustre, what you see is what you get on film. We used lustre to time all the visual effects shots in The Phantom of the Opera, in order to create continuity. As a result, Asylum used the inferno system to composite the chandelier into necessary shots.ĭiscreets lustre system is the beating heart of our film workflow, McGuinness explained in a release. Phantom was shot in London with no studio being large enough to accommodate the 40-foot long falling chandelier the story required. for senior visual effects supervisor Nathan McGuiness, owner of post-production house Asylum in Santa Monica, California, which completed more than 150 shots for the film, including the breathtaking opening in which a postcard comes to life. David Jones supervised the work in the U.K. provided the bulk of the visual effects for the movie, including miniatures, tracking camera moves, compositing and rough previs. Ornate sets, lavish costuming, unforgettable musical performances, sweeping camera moves and subtle visual effects all contribute to the film experience.
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Now in its 30th record-breaking year, The Phantom of the Opera continues to captivate audiences at Her Majesty’s Theatre in London’s West End, after more than 11,000 performances.Īndrew Lloyd Webber’s mesmerizing score along with jaw-dropping scenery and breathtaking special effects, magically combine to bring this tragic love story to life each night.Director Joel Schumacher brings Andrew Lloyd Webbers haunting love story, Phantom of the Opera,to the screen with the grand scale and elaborate production values of a classic opera production. The musical opened at Her Majesty’s Theatre on 9 October 1986 with Michael Crawford and Sarah Brightman in the leading roles, and there have been dozens of productions worldwide since then. Shamed by his physical appearance and feared by all, the love he holds for his beautiful protégée Christine Daaé is so strong that even her heart cannot resist. Presenting The Phantom of the Opera, the smash hit musical by Andrew Lloyd Webber!Įxperience the power of the phantom with your nearest performance:įar beneath the majesty and splendour of the Paris Opera House, hides the Phantom in a shadowy existence.