"You shoot the 'beauty pass' (the primary image of the model) against black. "This brought some challenges," he continued. "We shot the ( Discovery) models before blue screen in the front-light-back-light method, on Kodak Eastman's 5247 film stock because of the quality, not with the higher speed films that were available at the time." Edlund said. asked Edlund, the effects supervisor for 2010, Ghostbusters, Big Trouble in Little China, and the majority of your childhood, about some of the difficulties in making the movie's breathtaking visuals. This meant blowing up frames from 2001 to extremes and painstakingly recreating plans by sight. "Mark Stetson and Les Eckert, the guys who were running the model shop at the time, had to photo-interpret frames from 2001 to recreate plans for the Discovery model," Edlund told. 2010's Discovery spaces are a bit wider, with the lighting leaning toward a naturalistic blue-white tone.Ģ010's effects were done by Boss Film Studios under famed effects supervisor Richard Edlund ( Star Wars, Ghostbusters). Kubrick's Discovery interiors are all claustrophobic corridors and cold, antiseptic lighting. There are significant differences, specifically in scale. Production designer Albert Brenner had to rebuild the interiors of the Discovery for the film based on images from the original. the look of the hardware I designed for 2010, it would be 'functional.'" The Russian ship, the Leonov, was designed by famed futurist Syd Mead ( Blade Runner) who said its aesthetic was, "Minimal cost for the maximum utilitarian value.
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