Over at VFXWorld, Bill Desowitz has a great interview with John Dykstra on their work for Inglorious Basterds, including some real gems as how they made the spectacular burning-projection scene.
His initial idea was to have Shosanna’s image on screen and have the fire consume the image. Well, by traditional standards, you would set about doing that by shooting the screen and then shooting the fire as a separate element and doing an optical composite to put the two pieces together. But he wanted very much to have that happen in the environment with the audience watching the actors, the stunt people and the extras. So it was a challenge because, technically speaking, fire is very bright and if you want to have fire with any detail in it, you have to expose it in an f/8 or an f/11. And when you do a projected image, you’re limited by the brightness of the projector, and, of course, that usually is in the realm of an f/4 or f/5. So it was trying to figure out how to create this image in situ, which was one of his prerequisites, or at least that’s where he wanted to start, and make all of the components synchronize.
