He wanted the designs to be scientifically realistic and plausible, but also visually interesting. He also conceived ideas for a Martian hotel, how transportation would work, and the types of vehicles that would be used. He wanted a plausible city and iterated dozens of concepts for domed habitats built into craters and canyons. Illustrator Ron Miller also worked on the Martian landscape. He also contributed designs for VTOL aircraft. Cobb's Mars was a cold, tough, and vast desert with horses and camels wearing pressure suits. Other features included electromagnetic cars and dirigibles carrying modular housing. At ground level, citizens would enter a one-story slab and take an elevator down to the main buildings. A different version portrayed the city after a severe earthquake, in which the buildings were now hanging upside down underground on shock absorbers to negate future quakes. He described it as a tranquil location in which people sailed, rode horses, and biked. He conceived of the futuristic Los Angeles as an immense coastal park featuring fountains, sunken gardens, and solar collectors. Ĭoncept artist Ron Cobb worked on Total Recall from its earliest iterations after completing his work on Alien. The encoders were supplemented by cameras set up at specific points to film the crane's motions. To this end, encoders were attached to a typical filming crane to recort positions and movements. The crew also had to replicate 40-foot crane shots on a miniature. Once live-action footage was recorded, the miniatures had to be filmed from precise angles and motions to replicate the live-action footage. The information recorded during motion control could be transferred to a separate motion control rig to replicate the necessary movements and angles for complimentary miniature work.
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It offered real-time motion control over forty-eight feet of track plus camera orientation options controlled from a console and could record aspects like velocity. The track was attached to the "Omega driver", effectively a large sprocket attached to the dolly that it runs over. ĭream Quest designed a motion control rig that used a precision steel ladder belt encased in plastic. A spaceship approaching Mars could have been attempted in CGI but it was easier to perform using miniatures and motion control. The film was made at the onset of CGI and so it was not a suitable option for photorealistic or textured imagery and so practical effects were primarily employed. Visual effects plates in VistaVision, that was because as you go through the optical process at every step you lose and lose quality so its best to start with the biggest possible negative. Total Recall features over 100 visual effects, including miniatures and bluescreen effects, which Verhoeven used because he wanted to be able to move his camera freely around the sets to make them seem more real. Senior matte artist Robert Scifo and his team at Dream Quest team produced forty-eight matte paintings for the film, including all of the Martian skies.
Additional effects were provided by Stetson Visual Services, Metrolight Studios, and Industrial Light & Magic.
Rob Bottin, who previously worked with Verhoeven on RoboCop, provided the character visual effects. Fisher as special effects supervisor, production designer William Sandell. The special effects for Total Recall were provided by Dream Quest Images with Eric Brevig serving as the visual effects supervisor, Alex Funke as the special effects photographer, Thomas L.
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