When Sylar telekinetically throws a shower of flying glass at Peter Petrelli in season 1, The effect is created digitally, as it is not possible to do physically (At least not without hurting the actors....)
On the computer, the glass shards are initially represented by black 2D shapes. CGI artist Mike Cook explains, "What they do on set is, they take a multitude of images(of the room itself) in a 360-degree veiw and we can use the images to put accurate lighting on the 3D objects."
"There was a real shard of glass used in the episode, so we wanted to make it look the same," adds fellow CGI practitioner Ryan Weaver.
"The props department origionally made a bunch of different pieces of broken glass," Mark Spatny relates "and said ,'pick one. How big is it? Is is jagged, Is is triangular?
Eventually the producers settled on one. By rebuildind the room on the computer, you'll actually see the room reflected in the shards of glass!"
"The first thing we do is put 20 or 30 shards of glass up in the air as flat pictures in the computer," Eric Granaudier reveals."We animate them. The film editors might say "We think they should be twice as big" or "We think they should be a third of that size."
We'll refine those papameters, and once we have a pretty good concept of the size of shards, the number of shards and the speed which thay could be traveling, then we'll produce the shot. When somebody says 'We want sylar to break a window, have glass come up off the ground, levitate for a while and then be thrown at a given charactor.' there are a lot of subjective opinions as to how that should happen. It opens the door to a lot of conversations amung us.The final touch of glass - the lighting, the texture, the transparency - would be the last thing we would do."
THis info came from issue 6 of the Heroes Official Magazine.
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On the computer, the glass shards are initially represented by black 2D shapes. CGI artist Mike Cook explains, "What they do on set is, they take a multitude of images(of the room itself) in a 360-degree veiw and we can use the images to put accurate lighting on the 3D objects."
"There was a real shard of glass used in the episode, so we wanted to make it look the same," adds fellow CGI practitioner Ryan Weaver.
"The props department origionally made a bunch of different pieces of broken glass," Mark Spatny relates "and said ,'pick one. How big is it? Is is jagged, Is is triangular?
Eventually the producers settled on one. By rebuildind the room on the computer, you'll actually see the room reflected in the shards of glass!"
"The first thing we do is put 20 or 30 shards of glass up in the air as flat pictures in the computer," Eric Granaudier reveals."We animate them. The film editors might say "We think they should be twice as big" or "We think they should be a third of that size."
We'll refine those papameters, and once we have a pretty good concept of the size of shards, the number of shards and the speed which thay could be traveling, then we'll produce the shot. When somebody says 'We want sylar to break a window, have glass come up off the ground, levitate for a while and then be thrown at a given charactor.' there are a lot of subjective opinions as to how that should happen. It opens the door to a lot of conversations amung us.The final touch of glass - the lighting, the texture, the transparency - would be the last thing we would do."
THis info came from issue 6 of the Heroes Official Magazine.
Xx