This is a collection of concept art, design, and illustrations for Blade Runner 2049 that show the various environments that they helped visualize for the film. The photos were made available from Weta Workshop and feature art from Adam Middleton, Nicke Keller, Jeremy Hanna, Dane Madgwick, Chris Guise, and Leri Greer. Check out the images and descriptions below.
"During the film's production, Weta Workshop was brought on to build large miniatures for many of the key environments. The sequences had been worked out in pre-vis, but required a detailed design pass to imbue the environments with life and realism, these concepts were used as a guide for the miniature teams. Extreme weather, tropical storms, and tsunamis are commonplace in 2049, leaving coastal cities destroyed. Mostly abandoned, the cities are now wastelands, occupied only by scavengers and those that were unable to escape."
"Drawing from the Frank Lloyd Wright inspired stylings of Deckard’s original apartment, these early concepts were an attempt to help uncover the mood and aesthetic for Denis Villeneuve’s return to the much loved world of Blade Runner. Strong horizontal and vertical lines were broken up by modular spaces, adding depth and providing a series of layers for the camera to move between and shoot through."
"Early in 2015 our design team was tasked with conceptualising the look and feel of Los Angeles in 2049. Set 30 years on from the first film, the city is now blanketed in a layer of thick smog, constant rain, and snow due to the extreme pollution that now engulfs the world. Rising through the smog is Wallace Tower, dwarfing the deserted Tyrell Corporation building. We explored several variations for this foreboding, monolithic structure; we wanted to create something bold and new while still echoing the infamous design aesthetic established by the original film. We also looked at the polluted atmosphere from street level, allowing us to explore the environment's effect on the city's inhabitants."
"Visually, Las Vegas needed to be a bold departure from the cold, dark city of Los Angeles. Iconic, real-world buildings from 1980s Las Vegas were placed between towering new megastructures in order to ground the audience in the new location. Referencing Australian dust storms, saturated oranges and reds provide a strongly oppositional colour palette to the dark blues and neon lights of LA."
"During the film's production, Weta Workshop was brought on to build large miniatures for many of the key environments. The sequences had been worked out in pre-vis, but required a detailed design pass to imbue the environments with life and realism, these concepts were used as a guide for the miniature teams. Extreme weather, tropical storms, and tsunamis are commonplace in 2049, leaving coastal cities destroyed. Mostly abandoned, the cities are now wastelands, occupied only by scavengers and those that were unable to escape."
"Drawing from the Frank Lloyd Wright inspired stylings of Deckard’s original apartment, these early concepts were an attempt to help uncover the mood and aesthetic for Denis Villeneuve’s return to the much loved world of Blade Runner. Strong horizontal and vertical lines were broken up by modular spaces, adding depth and providing a series of layers for the camera to move between and shoot through."
"Early in 2015 our design team was tasked with conceptualising the look and feel of Los Angeles in 2049. Set 30 years on from the first film, the city is now blanketed in a layer of thick smog, constant rain, and snow due to the extreme pollution that now engulfs the world. Rising through the smog is Wallace Tower, dwarfing the deserted Tyrell Corporation building. We explored several variations for this foreboding, monolithic structure; we wanted to create something bold and new while still echoing the infamous design aesthetic established by the original film. We also looked at the polluted atmosphere from street level, allowing us to explore the environment's effect on the city's inhabitants."
"Visually, Las Vegas needed to be a bold departure from the cold, dark city of Los Angeles. Iconic, real-world buildings from 1980s Las Vegas were placed between towering new megastructures in order to ground the audience in the new location. Referencing Australian dust storms, saturated oranges and reds provide a strongly oppositional colour palette to the dark blues and neon lights of LA."
