Even more astonishing, this tour de force of special effects takes place without a single giant robot or exploding zombie. How could that be?
For those of you who are mathematically inclined, you may wish to contemplate how many times Kylie has to run around the block. Poor girl, she was probably getting dizzy.
Finally, we may ask if there is some relationship between the audio layering of Kylie (other Kylie's are at various time layered on top of the main Kylie in the audio domain, e.g. she is her own chorus as well as responding to herself) and the layering of Kylies in the image domain.
Students of the history of this technology will note the amazing difference in the capability between modern compositing and the original chemical blue screen process, as discussed in my previous post on Bye Bye Birdie here, in which a major point of discussion was the issue of a moving camera and the special restrictions on blonde and red hair. Here we have a completely free camera and a lot of dirty blonde hair, and its not a problem. Actually, a better way to put it is that here we have an avalanche of moving camera and a tsunami of flying blonde hair and it looks effortless.
Raw talent, that's how.
In this case, I recommend not watching the documentary, however, but create your own plan on how you would make the film. How you would cue the extras, how you would keep the Kylie's out of each other way (One might put a chalk mark on the ground for the path each Kylie should take with a different color for which cycle we are on (3), for example).
3. I haven't found them yet, but I am still looking.