However, there were some low-tech choices, such as shooting the opening Bond-style chase on the red planet Nibiru on a small Marina del Rey set with CG enhancement rather than doing it all virtually. It's another testament to Abrams' embrace of the old and the new in his staging of the jungle action (which looks like a cross between "War of the Worlds" with the red foliage and "Apocalypse Now" with the white faced tribesmen). Even so, ILM was able to use simulation for the jungle with built in calculations to add motion to the trees to help them look real.
But the tense moment inside the erupting volcano, with Zachary Quinto's Spock willing to sacrifice himself to save the planet, featured ILM's latest advancement in simulation. "To make the shots possible, we constructed a small patch of rock for Quinto to stand on while the surrounding areas were layered and mapped with pools of magma," Guyett explains. "The lava contains a lot more level of sophistication in the way it deals with viscosity changes in temperature. And when lava cools down, it forms a crust. We built all this information into the simulation. And then we rendered hundreds of elements that included smoke and debris and embers that went into such a visceral texture."
Meanwhile, ILM was able to leverage the water technology it developed for "Battleship" in pulling the Enterprise more believably out of the water. The change in rendering pipeline, using the Arnold ray tracing system, provides a more scientifically correct and photoreal way of bouncing light. "You don't have to cheat the bouncing with simulation as we did in the previous movie," adds Guyett.
Again, it's all about Abrams trying to squeeze every ounce of humanity into the shot to make "Into Darkness" more relatable.