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The way we did it was we started with reference photography, we lined up maybe 10—15 angles from different parts of the bridge, looking out in different directions, and then we started matching that with our cg environment and just every day we would enter it three, four, five times and get closer and closer to the real thing. at the end of the day i think we had something like 500 unique assets, you know, 70 cars, we had to build a traffic system to drive cars around in the background, so that that would give life back there, we had a crowd system for characters, actual human beings walking...

Environment and just every day we would enter it three, four, five times and get closer and closer to the real thing. at the end of the day i think we had something like 500 unique assets, you know, 70 cars, we had to build a traffic system to drive cars around in the background, so that that would give life back there, we had a crowd system for characters, actual human beings walking around in the background, and then, at render time, when all of that is being brought in, it probably had 30 billion polygons or something are being rendered in any given shot. alfred molina, he is on basically t...

Times and get closer and closer to the real— times and get closer and closer to the real thing. at the end of the — to the real thing. at the end of the day you think we had something like 500 unique assets, _ something like 500 unique assets, 70 cars, we had to build — assets, 70 cars, we had to build a _ assets, 70 cars, we had to build a traffic system to drive cars — build a traffic system to drive cars around in the background, so that— cars around in the background, so that that would give life back — so that that would give life back there, we had a crowd system _ back there...