OK I just saw this years later.
I was the VFX supervisor on this video
Y'all got a few things right, other things, not so much.... first, ILM had zero to do with this video. The work was done mosttly at Editel LA by Mark Robben, Laurie Hunter, and Wayne Shepherd, and others. It was shot in color and teleicine'd to blacknwhite. Yes, it was almost all roto and very little keying. The crane is not visible in the mirror because we shot the mirror element through a hole in the wall where the mirror would be. We didnt know we wanted a mirror when we shot the first element, Paul added this at the end of the 2nd day. I remember staring at the square tiles in my (very long) shower the next morning when i had the 'aha' moment for how to reuse the moco move for the mirror element. PHEW! The bench and glass were NOT cg, they were a practical element, as were the falling letters and fan streamers at the end of the clip. All the mistakes pointed out were known to us, along with several others (see the crew reflected in the window in shot1 lol) Every shot was shot as a Fiona pass at 24fps and a thug pass at 96 fps and at least one clean pass. Set resets took 4 hours.Moco was George on the Milo- The Milo running at 96 fps was a terrifying thing- you did NOT want to be in the way of that beast! We did an invisible fiona switch to get her from the booth to the rolling stool. And yes its true that the reflection is not a perfect match for the main fiona. We shot it 2 days and 1 hour of sleep later, i think we did okay. If anyone still cares i am happy to answer any questions :) chris watts
