Superman Stand Up
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Since the 1970s, when Richard Donner made Superman: The Movie, technology has advanced to levels that were merely daydreams of filmmakers in that era. With these great advances in camera and visual effects technologies, Bryan Singer believes that “we all will believe again that a man truly can fly.”
Singer and his team sought to first and foremost create the physics of the character and his universe. “Brandon and I built up our own physical laws which became the directorial palette for the flying sequences,” says Singer. “For example, how much strain does it take to catch a plane in flight or when do you leap and when do you float? What kind of hand motions does Superman use to navigate himself during flight? Thanks to endless discussions between me, Brandon, all the stunt coordinators and flying teams and to technology itself, Brandon will fly like no other Superman ever could.
“The state-of-the-art technology we used in making this film didn’t even exist two years ago,” Singer says. “The progress made in the visual effects arena is just astounding. As opposed to a Super Hero like Spider-man, Superman’s hair and face are exposed therefore his performance and personality are exposed even in flight.”
The filmmakers paid meticulous attention to detail to the physical shooting of Routh as well as the computer rendering, scanning and animation of the character in order to capture the reality of a man who can fly at will.
Perhaps the single most cutting edge piece of equipment used in making the film is the digital Genesis camera, a joint invention by Sony and Panavision. Superman Returns is the first feature length motion picture to be shot entirely with the Genesis camera system.
“The idea of possibly being able to use the Genesis camera came about after I had cast Brandon in the role,” recalls Singer. “We did a screen test with the intended format of Super 35mm and, for the hell of it, we shot one on 70mm. When the film from both cameras was processed, we watched the 35mm first and then clicked projectors to the 70mm. The clarity, the depth, the sheer lack of grain of the 70mm was so exquisite that shown right next to the 35mm film it looked as if we had used bad stock or something…that’s how different the two formats looked.
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