Akiva Goldsman decided to move the story from Los Angeles to New York City to take advantage of locations that would more easily show emptiness. Goldsman explained, "L.A. looks empty at three o'clock in the afternoon, New York is never empty . . . it was a much more interesting way of showing the windswept emptiness of the world." Warner Bros. initially rejected this idea because of the logistics, but Francis Lawrence was determined to shoot on location, to give the film a natural feel that would benefit from not shooting on soundstages. Lawrence went to the city with a camcorder, and filmed areas filled with crowds. Then, a special effects test was conducted to remove all those people. The test had a powerful effect on studio executives. Michael Tadross convinced authorities to close busy areas such as the Grand Central Terminal viaduct, several blocks of Fifth Avenue, and Washington Square Park. The film was shot primarily in the anamorphic format, with flashback scenes shot in Super 35.