Among the many outdoor scenes in Los Angeles, the Hacienda Real nightclub in the basement of the Oriental Columbia Building in the Theater District served as the bar for Midnet in the film; the Fifth Street Market became the place where Father Hennessy and Balthazar finally confronted each other; Mary’s Hospital became the Ravenscan Psychiatric Hospital where Constantine was admitted; the Giant Penny Building on Broadway provided Constantine’s long and narrow residence; and Angeles Abbey Cemetery appeared as Midnet’s office Big screen.
In addition, the crew also used 6 studios at Warner Bros. Studios. The hospital spa room built in it has repeatedly become a battlefield for good and evil. Part of highway 101 also appeared in the studio. The pavement length was almost 22,000 feet built to standard specifications, but the width of the lane was reduced from 10 feet to 8 feet, and the 4-lane was also changed to 3-lane. The entire road took 8 weeks. Laying is complete.
Of all the settings, the most detailed is the nearly 40 used vehicles. The crew purchased the wreckage of various vehicles from collectors, and then processed them, re-cut, shaped and decorated them to create a ruined, decayed and cruel appearance. Under the processing of special effects director Michael Fink's digital technology, the effect of the used vehicle has been further improved, and the lonely ghosts wandering in it have been added.
Following the simple light-using principle proposed by director Lawrence, Rosslowt adopted general lighting. However, simplicity does not mean crudeness. For example, in Constantine’s hell scene, 60 lighting fixtures are hung on the ceiling of Studio 21, which is matched with the 7 giant industrial fans on the side of the highway to create a changeable Light effect.
The shape of the soul thirsty in the film is derived from the photos of the brainless corpses seen by Lawrence. The hundreds of soul thirsty in the film are all from the famous Stan Winston studio. The final completion of each soul thirsty doll requires 7 A technician and a 12-foot cable to operate.
The most complicated fight scene in the film is the desperate fight between Constantine and Chaz with the demons in the Ravenscan Psychiatric Asylum. Because of the limited space on the shooting site and the low lift, coupled with the large number of people participating in the fight, Director Lawrence also asked for it to be done in one go, and it was even more difficult to carry out acrobatics. Under Randall's guidance, all movements were kept smooth through rhythm. Nearly 12 stuntmen danced in the sky, while the rest played against each other on the ground at the same time. The uninterrupted shots finally made Lawrence get his wish.
