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Under visual effects supervisor Colin Strause and visual effects producer Randy Starr, a host of vendors staged widespread destruction and carnage and even a tsunami through several locations. How to…plan for destruction Dwayne Johnson as Ray. San Andreas was filmed in Queensland, Australia and at locations in LA and San Francisco. Previs from The Third Floor and Proof aided in laying out the destruction that would turn the family story into a full-blown disaster epic. For that, a look into the history of earthquakes would also be required. In fact, Strause notes that his first few weeks on the film involved researching earthquakes. I would go through and find all these videos of building demolitions, buildings collapsing, landslides - I would pick my favorite that I like the most and then I would cut these - I was editing together my own little look and feel clips. We had it every single day in Australia and in San Fran and then at the same time, we had another one and sent it through LA and SF, then combined it with surveying and photography done by each of the facilities. Hydraulx did all the LIDAR then cleaned up the assets and gave those to all the vendors. Scanline also rented a helicopter and shot San Fran and Hoover Dam. And Method did Downtown LA and Cinesite delivered the canyon. Dangling precariously in a canyon, she is reached by Ray and his Los Angeles Fire Department crew who stage a daring rescue attempt. The final sequence was realized via both practical set-piece photography in Australia, and visual effects from Cinesite, which incorporated a CG helicopter as well as a digital canyon environment and vegetation based on reference photographs. Watch part of the rescue. The initial car crash was originally, according to Cinesite visual effects supervisor Holger Voss, intended to be an all-in-one shot shown in slow-mo and featuring a speed ramp. When the rocks come down and hit the car, they wanted to stick with the live action car, and we just put a CG left hand side on. So we had to matchmove that and we rendered a full car and replaced what needed replacing based on the impact of the rocks. Wedged in the canyon, Natalie and her car await the arrival of the Los Angeles Fire Department helicopter, which ultimately angles into the canyon before starting the rescue. Voss was called upon by production to acquire background plates for the canyon. Initially this was to be via a camera helicopter that would shoot plates to line up with the Australia footage, but Voss was concerned that line-ups may end up being tricky. So he adopted a photogrammetry approach instead. Behind the scenes of the rescue shoot. That was at Glendora Mountain. One important addition was animated vegetation, dust and debris caused by the rotor-wash. The helicopter was a Method Studios asset built for the LA quake sequence that Cinesite adopted into its own pipeline. In the end it looked so good we would replace the real helicopter hull with our CG copter in some shots. Many scenes required Ray and other characters to be positioned in the rescue helicopter. For these, the actors were filmed in a helicopter cab on a gimbal and composited into aerial backgrounds. Determined to not have to deal with ordinary greenscreen plates, Strause pushed for the chopper plates to be filmed initially outside, but when that was determined as unfeasible, against a white background instead. So we agreed to do it on a stage. We did it as a white screen on everything. We built a full hemisphere dome, completely lit from behind all around with a white screen, and had our helicopter gimbal inside of that. He is the most absolutely tech-savvy DOP. He takes photographs and goes into NUKE and is checking all the exposure ratios and doing his own comps. The guy even wrote his own custom film grain tool that we used for the DI in the movie. Sometimes it was just a matter of luminance keys and a little bit of roto. Then on the set I would block out all the scenes. We had an iPad with a VR sphere where we took the previs and rendered out 360 degree domes, and used a VR viewer, so the iPad would show us a window into the previs. That meant we could get eyelines and everything perfect. These techs were completely low-fi and analogue and old school. But that stuff in the helicopter feels real. We had a little spinny motor oscillator at the back of the gimbal that gave a little wobble - so if you look at a shot every single cable and strap inside that helicopter is wobbling around like you get in a real helicopter. While testing their earthquake prediction equipment at Hoover Dam, Caltech seismologist Lawrence Hayes Paul Giamatti and his colleague Dr. Kim Park Will Yun Lee find themselves amidst a quake at the location. Scanline handled the sequence. Gathering reference to replicate Hoover Dam initially proved challenging for the Scanline team. But what we found out was in order to shoot there you have to show them the script. We used Photoscan to reconstruct all the data and modeled from there. The rest was pure modeling. We also did our homework and looked online for plans and for what the scale of the environment would be. The Photoscan model got us to a place where we could do additional modeling on other areas. So we started there. Originally we had some previs where it felt like the water was sloshing so much, that the sloshing combined with the breaking created this big push of water through the dam. We did a version like that for the trailer, and after that the studio and director thought it looked too much like a tidal wave, so we had to re-think it. So we kept the sloshing but the water never really sloshed higher than the dam, and the amount of pressure of water behind the dam was what eventually pushed the dam through. Chaos ensues and Emma calls Ray for help, who is able to rescue her from the roof of the building as it collapses. Method Studios in LA and Vancouver delivered effects for the sequence, which included a three-minute long tracking shot as Emma escapes, shots of the helicopter approaching and scenes of buildings disintegrating as Ray and Emma fly away. Once we had approval with the path of action and overall camera angles, we layered in hand-animated explosions, people, fx, and camera work needed to film the shot. This sequence and scene files were then used to map out and produce the final shot. I'm very proud to say that what was planned ended up exactly on screen. The rest of the sequence was worked out like a normal action sequence. Also challenging was the sheer size of the environments and that taxed our video cards and machines quite a bit. It was all worth it though as the work explodes on screen, leaving us with the satisfaction of destroying the place we all live. Live action for the sequence was filmed on several different stages in Queensland. In the end we did replace everything in CG. As she wakes up and reaches up to her ear, she had to climb up to the top of the roof, that is a different set piece as well. That was a partial set and then there was a full digital take-over as the camera boomed up as high as it could go and we do a takeover into a fully CG environment. While we were shooting, the first chinks in the armor showed up! Method created the rescue helicopter - a Bell 412 - that then became a shared asset amongst the other vendors. And we pretty much just canvassed the entire corner of downtown we needed. Then we had limited access to the tops and mid sections of buildings so we could get a little higher at each point. At the peak we had three teams of LIDAR and then teams of people doing video-grammetry and photogrammetry for all the action. It was a very complicated intense couple of days. Method replicated buildings and rigged them for destruction in Houdini as the helicopter departs shots of the chopper narrowly avoiding the collapsing buildings were supervised by Method Vancouver visual effects supervisor Bruce Woloshyn. Once we discovered what the steps were, we then went through the process of classifying all of the downtown buildings we would see in all of the shots in terms of how hero they were. Is it right in our face? Do we see the building fall apart where we also see the insides of the building? The dust ends up becoming its own character, and in some ways is the most prominent part of the destruction. Several of the vendors on the show created scenes of San Francisco and LA experiencing earthquakes. For example, Hydraulx crafted a number of on-ground shots of buildings shaking and collapsing in San Francisco, using a newly set-up Houdini pipeline. I was always anti-Houdini and never really got it, but now I love it. It sits in our pipeline really nicely. It was all on Linux, multi-threaded, we could run it on our renderfarm. For street shots in San Fran, production filmed with the actors and with the real buildings in the backgrounds. For their shots, Hydraulx would then completely replace the buildings. We had to figure out in Houdini how to collapse floors, because when the last big quake hit in San Francisco, all those houses, the first floors collapsed. Ray and Emma attempt to make it to San Francisco by helicopter, but when that fails and they crash-land, they are blocked by an expanding fault line. Production filmed actual stunt drops, aerial reference of San Francisco, with Hydraulx augmenting the performers and backgrounds. We had time to do one jump from the airplane - the airport the plane could take off from was so far away that we were only going to get one jump. Once they did the first jump, then they got out, we got a barge floating out in the harbor. Then we would add in destruction matte painting and CG buildings. The suit started falling apart on us after so many skydives so we had to go and do some pretty serious suit clean up. But the bulk of the chest really worked. The quake causes a tsunami to rise outside of San Francisco. After commandeering a boat, Ray and Emma speed out past the Golden Gate Bridge in the hope of getting over the incoming wave. It ultimately lashes itself upon the bridge, and the city, causing widespread destruction to a shipping container, cruise ship and most of the foreshore. Scanline created visual effects for the massive sequence surrounding the bridge. Previs by The Third Floor. Early blocking for the sequence came in the form of previs from The Third Floor. We built both low- and high-resolution versions of each location so we could optimize each option during previs. Various boats and ships were built and animated to fill out the frame as Ray and Emma race to get over the wave before it hit. Partnering with Scanline, we were able to use their proprietary water rig to give the tsunami and the flooded city a realistic, dynamic and look. The decision on scale of the tsunami came from the director, as he wanted the wave to pull along a cargo container ship that eventually destroys the Golden Gate Bridge. We hand animated all of the people, boats and destruction of the bridge during the sequence. As they had done for Hoover Dam, a team visited the Golden Gate Bridge to capture reference. I wanted to shoot as much practically as possible because we needed something to match to. We pretty much lined up every shot and shot it as close as we could. The next step was involved accounting for the many types of water required for the scene as the tidal wave approaches. So we had to show the sand on the shoreline. We were able to, with Flowline, colorize and give directionality to that sucking. We noticed a lot of imagery from the Japanese tsunami you got these tidal pools or shifting shapes in the water that were really interesting. We used a lot of that to help show the water. Ray and Emma were filmed on a boat gimbal some of the action, but also replaced with CG doubles more on this below. Scanline also had to match their Flowline water to plates of real water, and build a digital Golden Gate. Then, adding in the container ship - which loses many of its containers - required an initial sim. The cruise liner being overtaken by the tsunami was initially intended to be just one shot, but grew to a couple. But other shots only required a little damage to it, anything loose had been knocked off it. Because of how over the top those shots are, we were able to get away with not having to build it brick for brick. The tsunami floods the city, trapping Blake and her new found friends Ben, and Ollie, in a half finished building. In their commandeered boat, Ray and Emma explore the San Francisco streets, which are full of debris and depleted buildings. Once again, Scanline employed its fluid sims, plus a monumental CG modeling and rendering pipeline, to deliver the shots. For street views, a team had photographed areas extensively, from rooftops to ground level. Once we felt confident that everything felt photoreal, then we were confident to move the light around knowing the metals and bricks would react properly. Once we did it to the actual buildings, now nothing was going to be 1:1, because everything was going to be pretty much destroyed or damaged. Johnson and Gugino were filmed in Queensland on a boat gimbal, which had been re-purposed from the helicopter setup. That meant there were limited movements the boat could take, as well as there being no motion control or repeatability. Shots were therefore constructed moving the gimbal and the Technocrane in tandem for the desired position. Reference of recent tsunami damage from Japan showed debris to mostly be wood and mud, but that was due to the incident taking place in a predominantly rural area. The San Francisco debris was therefore more consistent with trash, hard objects and oil. A lot of it is repeated stuff. The size, color and other things change for each piece. Ray and Emma search through the debris. We were able to create chunks of debris and place them where we wanted. That included cars and a lot more big wood pieces that might have gotten caught up. After that we had the floating debris. When we were walking down the streets taking photos initially, we took photos of garbage cans and anything. Then we included things that might have come out of houses - we had curtains, dresses, anything that would be loose. That work was spearheaded by Mohsen Mousavi at Scanline.