Sucker Punch boasts an “impossible” mirror scene, a one-take shot going through a reflect spawned probable by deft use of mas doubleds and off-screen all practical purposes – and no CGI. The stage aspects Sweet Pea( Abbie Cornish ), Rocket( Jenna Malone ), and Blondie( Vanessa Hudgens ), getting ready for a action in the brothel fantasy world and discussing their plans to escape.

Released in 2011, Scuker Punch is the only movie so far by superintendent Zack Snyder not to be an adaptation. Snyder is no stranger to contentious movies, but Sucker Punch has received more disapproval than most( which is saying something ). Over duration, it’s become a bit of a faith movie, and some have reassessed it as an arraignment of the misogyny and objectification it was seen as an example of. Even at the time, amidst the negative evaluates, its visually-striking action cycles were a real positive, but even some of the small backgrounds have an superb amount of visual flair, including the noticeable reflect scene.

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The mirror scene in Sucker punch was Zack Snyder’s plan, with cinematographer Larry Fong figuring out how to prepare the camera appear to go through a mirror. The camera pans across the girls as they discuss the escape contrives, goes through Blondie’s mirror, then comes back out on the other side, washing across the girls in front of their mirrors again while they finish discussing the mean. Fong revealed that this photographed was done wholly in-camera with no editing or visual influences( via Twitter ).

The first half of the film makes thanks to the use of form double-faceds( similar to the surgery scene in Terminator 2 ). At the beginning of the photograph, the actresses are behind the “mirrors”, which was actually the make of a mirror with nothing in it. There are body double-dealings on the foreground surface, simulating their flows( though some are a little off in their timing, starting the effect obvious once you see it ). Seeing the doubles from behind following what the central actresses are doing sells the semblance as it goes down the line, but where reference is contacts the end is where the effects work does tricky.

After the camera rotates and goes through the “mirror” in front of Blondie and pans back across, there are clearly actual mirrors be utilized in the shoot. When the camera is going around the end and “through” the reflect , none of the window formulates are visible, may be required for the deception to be done as reflects slithered into sit in the previously empty-bellied frames. The camera angle mutates here to accommodate for that, as the mirrors are shot at an slant to avoid the camera catching its own reflection, while the earlier hits were taken straight on facing the “mirrors.”

Despite its largely negative festivity, Sucker Punch had a dedication to strong, video game-inspired visuals throughout the movie. The mirror background shows this, as even in what could otherwise be a largely expository vistum, they went to a lot of work to make it as visually dynamic as is practicable. With intelligent abuse of torso doubles and camera angles, the movie managed to make an hopeless panorama, where the camera went through a reflect, work without any deception edits or visual consequences, done completely practically.

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