This became the basis for the two bravura sequences in which Neo faces off with The Analyst (Neil Patrick Harris) baddie. The R&D work was accomplished mostly by Volucap at Studio Babelsberg in Germany (custom rigs and software) and London-based VFX studio One of Us. However, Glass wanted a more organic approach to the new Bullet Time. It’s a continuation of ‘Sense8,’ which was primarily shot on location with available light in a documentary approach…and, of course, the visual effects responded to that.” As you watch it, you relate to it even more. It’s a new version of the Matrix that’s learned lessons from the previous films, and she wanted it to feel all the more real. “One of the things that was important was the aesthetic,” said Dan Glass, the production VFX supervisor from DNEG (who previously worked on “The Matrix Reloaded” and “The Matrix Revolutions”). That applied to cracking the new code for Bullet Time by DNEG. Yet director Lana Wachowski didn’t want the VFX to overwhelm her richer and warmer aesthetic, in keeping with the surprisingly emotional love story between Neo and Trinity. But thanks to new advancements in physically-based lighting and volumetric capture, it’s now a lot easier to produce amazing photorealism. After all, a lot has changed since Bullet Time earned the Oscar in 2000, creating the illusion of bending time and space so Neo could perform his balletic martial arts.
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The biggest VFX decision on “ The Matrix Resurrections,” of course, was how to update the mind-blowing Bullet Time effect for the return of Neo (Keanu Reeves) and Trinity (Carrie-Anne Moss).
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