Lighting designer Allen Branton chose two or three generic backgrounds that provided animated video life in the background behind the movie stars.
"The first time I saw them, I was expecting a really chunky, pixilated image - which it does do," says Branton. "But there were certain animated effects used that were surprisingly organic looking. If you ran the right image at the right speed, it all just melted together and you stopped really noticing the pixels. They've really got a lot of potential and they're economical - especially compared to LED screens."
"The fact that you can take the little squares and stick them in the nooks and crannies of your scenic design and see these living images in places where they normally wouldn't fit is great because there wouldn't be any way to project this much life into these corners otherwise."
"We went with the Versa TILE system because it was much more cost-effective [than a regular LED display], it was lighter weight, it required less power and it was easily mounted into the set," says set designer Mike Swinford. "It also offers a different look - something that was a little bit more unexpected."
