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127 Mp4 !!BETTER!!

Gascoyne: We met with Danny Boyle just after he had drafted the first pass of the script. He had areas where VFX were obviously needed, such as the arm removal, but looked to us for help solving some of other issues which arose due to the location. 127 Hours is, on the face of it, not a big VFX movie but once you start looking into the locations and the subject matter you realise that it is a really tricky movie to make. Just getting to the locations took a herculean effort, so thats where the effects were used, to solve difficult production issues and help maintain the reality which was key to the story.

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Gascoyne: Early in pre-production we had a LIDAR scan done of the real location which was used alongside some real casts of the canyon walls to recreate the canyon in Salt Lake City. This set was an exact replica of the immediate area around where Aron was trapped. We had very small SI 2k cameras being expertly operated by Anthony Dod Mantle and Enrique Chediak on custom made rigs, in very crammed spaces. All the canyon shots required some extending when we saw off the set, this was a challenge due to the free reign of the camera and the lenses used.

All these things stemmed from the restrictions dictated by the landscape Aron was stuck in. It was made clear by Danny Boyle to all of the crew early in the planning stage this was an important part of making this film and there were no easy ways out of problems, but it shows in the final movie I think. If we could have moved walls or fit an entire camera crew into the space we would have lost a lot of the feelings of claustrophobia and isolation.

Gascoyne: We created many CG environments for the movie. During the storm sequence these were used to show impossible angles of the storm approaching. We had some picture references from Danny as to how the cloud bank should look. We took plate shots from a hot air balloon about a mile up in the air. These were used in digital matte paintings which were projected onto basic geometry of the region generated from height field data. We worked with Jim Bowers to create cloud movement and weather effects for the storm sequence using Terragen.

Gascoyne: The first part of that shot was filmed in the canyon set in Salt Lake City. We then we shot plates from a helicopter at various heights above the actual accident site in Blue John Canyon, Utah. As with the storm sequence, these plates were then projected onto geometry generated from height field data of the area. This allowed us to soar above and through the canyon lands which was impossible to film with such freedom.

Gascoyne: Aron turning to dust during the latter stages of his decline was the most time consuming of all the shots we did. They involved a lot of work with Maya fluid and cloth simulation. We had a cyberscan of James Franco which helped and also a LIDAR scan of the canyon set to ensure the fluids interacted correctly with the surroundings.

Aron Ralston: You know, I've been thinking. Everything is... just comes together. It's me. I chose this. I chose all of this. This rock... this rock has been waiting for me my entire life. In its entire life, ever since it was a bit of meteorite a million, billion years ago up there In space. It's been waiting, to come here. Right, right here. I've been moving towards it my entire life. The minute I was born, every breath I've taken, every action has been leading me to this crack on the earth's surface.

NCT 127 currently consists of Moon Tae-il, Johnny Suh, Lee Tae-yong, Yuta Nakamoto, Kim Dong-young (Doyoung), Jeong Yun-o (Jaehyun), Kim Jung-woo, Mark Lee, and Lee Dong-hyuck (Haechan). The name NCT is an abbreviation of Neo Culture Technology, while the number 127 is the longitude of the city of Seoul.

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