Comment on the technique of blending existing streetscapes with animatedmodel environments' How does

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Blade Runner
Comment on the technique of blending existing
streetscapes with animated/model environments.
How does this benefit the creation of a dystopic
environment? How does this extend the repertoire
of techniques that we have looked at thus far?
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Interior and exterior view of the spinner,
designed and rendered by Syd Mead.
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Syd Mead surveying set work on the set on The
Burbank Studios backlot Meads rendering of the
stylized, future vision of Blade Runner New
York street set, redesigned for the film.
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Modeling work of the Tyrell Corporation pyramid.
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Set design of Tyrells suite, open at the back to
a Scotchlite screen on which window imagery could
be front-projected.
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The Hades landscape, consisting primarily of flat
cutouts, creating an illusion of depth.
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Models built with two or three sides of
structures represented, such that they could be
repositioned and redressed for varying shots in
the film.
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Integrated use of matte elements and tilted
models to create aerial views of the future city.
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Matthew Yuricich develops a matte painting,
working from a design concept provided by Syd
Mead in a scene where Deckard gazes at the city
from his balcony.
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Combined live-action shots of the Bradbury
building, matte background painting, and other
effects such as lighting create a convincing
vision of the future city growing out of its
historic roots.
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Extensive additional special effects were layered
on the matte paintings, such as rain and smoke,
to create the desired dystopic atmosphere.
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A scene where a particular background matte
design by Mead was rejected and replaced with a
more claustrophobic alternative.
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A computerized multiplane system functioning as a
motion controlled horizontal animation stand,
used to program shots and insert backlit spinner
transparencies and tiny moving light sources into
constantly shifting three-dimensional background
imagery.
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A shot from Sebastians apartment incorporates a
still photograph taken inside the Bradbury
Building location, mounted on a pane of glass,
with the window areas behind cutout, revealing
the model of the blimp behind.