{"id":10382,"date":"2020-09-01T14:58:44","date_gmt":"2020-09-01T21:58:44","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=10382"},"modified":"2021-05-29T20:14:58","modified_gmt":"2021-05-30T03:14:58","slug":"call-of-the-wild","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/call-of-the-wild\/","title":{"rendered":"Beautiful Dreamers"},"content":{"rendered":"

Florian Ballhaus, ASC, guides Disney +’s The One and Only Ivan <\/em>through a thick jungle of live-action and virtual workflows.<\/span><\/p>\n

by Kevin Martin \/\u00a0<\/span>Photos by Wallace Michael Crouch and Simon Mein \/ Framegrabs Courtesy of Disney +\u00a0<\/span><\/span><\/p>\n

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Art is just one of many channels humans use to express their creativity, but it is not exclusively reserved for people. A case in point was the real-life silverback gorilla named Ivan, who, after being captured in his youth and raised in a human home, spent the better part of three decades on display as part of a low-rent circus at a Tacoma, WA shopping mall. During his tenure, the simian developed a penchant for finger painting, and his repertoire expanded to include paintbrushes after being moved to Zoo Atlanta, where he lived out his last seventeen years under much more humane conditions.<\/p>\n

The silverback\u2019s life inspired a children\u2019s novel, K. A. Applegate\u2019s The One and Only Ivan<\/em> \u2013 illustrated with a nearly cinematic sense of light and shadow by Patricia Castelao \u2013\u00a0 which serves as the basis for Disney\u2019s film adaptation, directed by Thea Sharrock from a screenplay by Mike White. Sharrock says, \u201cThe script was developed by producer Allison Shearmur, who unfortunately died just before the start of production. Then Mike and I did a lot of work to adjust the balance between human and animal characters.\u201d<\/p>\n

Sharrock also partnered with actor Bryan Cranston to create an arc for his character, Mac, \u201cwhich is more complex than in the book, where his human is more obviously the villain,\u201d the filmmaker continues. \u201cI wanted to make sure we didn\u2019t present it as a humans-bad\/animals-good vision, and revealing Mac\u2019s genuine affection for Ivan went a long way toward portraying a deeper gray area in their relationship.\u201d<\/p>\n

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Local 600 Director of Photography Florian Ballhaus, ASC, says more than a third of the production was CG animal characters. \u201cRather than shoot plates on set, [the animal portions] happened virtually after the set was scanned and rebuilt in the computer,” he shares. “Between those steps, there\u2019d be motion-capture sessions and animation being generated. This made for a very complex prep \u2013 at sixteen weeks, the longest I\u2019ve ever had.\u201d \/ Framegrab Courtesy of Disney Enterprises, Inc.<\/figcaption><\/figure>\n

For her director of photography, Sharrock<\/strong> chose Florian Ballhaus, ASC. While experienced with VFX-heavy projects like Insurgent<\/em> and Allegiant<\/em>, Ballhaus is best-known for more traditional live-action fare, like The Devil Wears Prada <\/em>and Sex and the City<\/em>. He says that when he came aboard, Production had already signed-off on a hybrid approach to making the movie. \u201cIn addition to the live action, there was going to be more than a third comprising the CG animal characters,\u201d Ballhaus describes. \u201cFor those scenes, rather than shoot plates on set, the shoot would happen virtually after the set was scanned and rebuilt in the computer. Between those steps, there\u2019d be motion-capture sessions and animation being generated. This made for a very complex prep \u2013 at sixteen weeks, the longest I\u2019ve ever had \u2013 with a lot of parallel development taking place.\u201d<\/p>\n

With so many furry principal characters needing to be animated and rendered, MPC was a natural choice as the film\u2019s sole VFX vendor. \u201cBecause of the human element in our film, this was a little different from their work on Jon Favreau\u2019s The Jungle Book<\/em> and The Lion King<\/em>,\u201d Sharrock adds. \u201cBut they had a knowledge base that ensured the animation would be spectacularly credible.\u201d<\/p>\n

For visual-effects supervisor Nick Davis, the advantages of virtual cinema were creative, especially concerning live-action\u2019s involvement. \u201cIf you just shoot empty plates, it can be a very sterile and limiting way to work. You aren\u2019t certain where the animals will be in frame, and you can\u2019t even know with certainty how much of the scene should be in focus.\u201d<\/p>\n

The process began with a primitive version of the set where Ivan and his animal cellmates live. \u201cIt was a black box theater stage, where we laid out with tape the various contours and aspects of the actual set,\u201d Davis notes. \u201cHere, the director started to immerse herself in the actors portraying the animals. When she was comfortable with understanding how these scenes would play out, we transposed the optical black box onto a motion-capture stage. The mocap artists in their suits could then work there, with highly accurate proxies of props and shapes that would be on the set.\u201d<\/p>\n

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VFX Supervisor Nick Davis says the virtual cinema process began with a black box theater stage, where contours and aspects of the actual set were taped out. “[Director] Thea [Sharrock, middle above] started to immerse herself in the actors portraying the animals,” Davis explains. “When she was comfortable with how these scenes would play out, we transposed the optical black box onto a motion-capture stage, where the mocap artists used highly accurate proxies of props and shapes that would be on the set.\u201d \/ Photo by Simon Mein \/ Disney Enterprises, Inc.<\/figcaption><\/figure>\n

Andy Serkis associate Ben Bishop \u201cacted\u201d the role<\/strong> of Ivan for all scenes with real humans. \u201cBen was fantastic; his behavior and movement were as close a match to a gorilla\u2019s as you could imagine,\u201d Sharrock relates. \u201cWe also had a puppeteer representing Bob the dog on set, along with an amazing stuntman who squeezed into a tiny gray Lycra suit to play Ruby [a baby elephant new to the circus] walking around on all fours. They could respond to my direction just like anyone else on set, and I think their presence helped enormously when it came to fine-tuning the human performances.\u201d<\/p>\n

Davis says that fifty pages of Ivan\u2019s performance were motion-captured. \u201cThat wouldn\u2019t work for the other characters,\u201d he notes, \u201cbut the presence of puppeteers and performers facilitated Ivan\u2019s eyelines. Each approved take was considered a master scene, with data passed to animation. The animators roughed out how the other animals would move while using Ivan\u2019s mocap data to create a proxy representation. From there, we took it to the virtual stage, where the live-action filmmakers could wield virtual dollies, cranes, Steadicam, and handheld. The master scene was run through Unity\u2019s game engine and displayed in real time on big monitors, so the crew could see a performance and move their cameras as needed to capture the scene.\u201d<\/p>\n

Ballhaus reports there were nightly reviews of animation before \u201cwe went onto the virtual stage with the goggles to pick out camera angles that worked. We didn\u2019t want to have to change the animation, which would have produced massive slowdowns. Fortunately, the animators had studied the actual creatures and knew the real turning radius for adult and baby elephants when they move in a circle. That kept us honest, so we didn\u2019t try something on stage that a real gorilla would not or could not do.<\/p>\n

\u201cFor the virtual shoot, we wanted camera movement that brought the same imperfections you get in doing tracking shots on an actual dolly,\u201d he continues. \u201cSo MPC motion-captured the actual movement of our rig and track. A lot of engineering had to go into all this, since doing a Technocrane move when you have only a virtual crane means answering so many questions up front: What arm do you have on? Which direction is it pointing? Where is the crane base fixed?\u201d<\/p>\n

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Ballhaus (kneeling), who was committed to creating an analog look, considered shooting anamorphic “so that the movie would look like it was created on lenses rather than with a computer,\u201d he explains. \u201cBut without the ability to reframe things vertically, Disney was rightly concerned about anamorphic.” \/ Photo by Simon Mein \/ Disney Enterprises, Inc.<\/figcaption><\/figure>\n

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Even though the film was shot on ALEXA 65<\/strong>, Ballhaus was committed to creating an analog look. \u201cI looked into shooting anamorphic so that the movie would look like it was created on lenses rather than with a computer,\u201d he explains. \u201cBut without the ability to reframe things vertically, Disney was rightly concerned about anamorphic. We chose DNA lenses, which have beautiful characteristics \u2013 a rich look, but not overly sharp \u2013 and slightly detuned to get things a bit funkier, to pair with the 65. We used two sets of lenses: the B-set had a little more character, while the A-set was cleaner. Shooting 65 on longer lenses pushed the depth of field, which showed when shooting close-ups for the smaller creatures. Even though I love the beautiful focus falloff, I ended up shooting at a higher-than-usual stop, between a 4 and a 5.6, so these beautifully rendered background creatures didn\u2019t register only as blurs.\u201d<\/p>\n

Since nearly all of the film was shot on soundstages, issues relating to the 65\u2019s size were moot. \u201cThat little bit of extra heft wasn\u2019t a factor, even though this was the first time I\u2019d used one for such a huge portion of a shoot,\u201d Ballhaus admits. \u201cThe 65 provided a rich quality that made viewing dailies a joy. But this isn\u2019t a dynamic-camera movie \u2013 it\u2019s about animals trapped behind bars. A lot of camera movement related to how Bob the dog [voiced by Danny DeVito] could nimbly slip in and out of captivity while his best friend Ivan could not. That\u2019s where we used the ALEXA MINI, as it was nice to just put the camera on a broomstick.\u201d<\/p>\n

Production designer Molly Hughes, who was tasked with creating the habitat for the beleaguered animals, says the backstage was inspired by a gorilla habitat at Disney\u2019s Animal Kingdom in Florida. \u201cWe took what was needed to properly house elephants and gorillas, and made it all a bit sadder-looking,\u201d she explains. \u201cSince Thea comes from theater, we worked with it like a stage set to make it more interesting. Ivan\u2019s space had two levels, allowing him to climb up to the area where he is revealed to the audience for each show. From there, he can look across into Mac\u2019s office, or outside at the billboard advertising his presence. He also has to be able to see into the circus, out into the mall, and across the parking lot to what he thinks will be freedom. Ivan’s ability to watch the world outside, coupled with his curiosity, leads to \u00a0 his existential crisis and a desire to paint.\u201d<\/p>\n

Hughes\u2019 art department built both a large white model of the full set, as well as a 3D model and illustrations. The drawings then went to MPC, which made them viewable in VR. \u201cThat let us make sure the sets were properly sized to get compositions that worked with these disparately sized animals in the location,\u201d Hughes adds. \u201cI imagine that going forward, VR spaces will be accommodated within the art department, so anyone in Production can just grab goggles and check things out. VR seems to work well for architectural spaces; although with full landscapes, there are slight inaccuracies in perspective in distance.\u201d<\/p>\n

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The mall exterior was shot on location in Florida. Production Designer Molly Hughes says the\u00a01980s-era location had a quintessentially American look, “so shooting [in the U.K.] meant communicating all the subtleties to a local crew,” she notes. \/ Photo by Wallace Michael Chrouch\/ Disney Enterprises, Inc.<\/figcaption><\/figure>\n

While the movie\u2019s conceit is that the animals speak<\/strong> mostly while alone at night in their cages, Ballhaus says that \u201csustaining that for 40 percent of the runtime could have become a dreary experience. This story has heavy subject matter for a children\u2019s film, ranging from captivity to death, so a realistic treatment with lighting these animals only as silhouettes wasn\u2019t going to play. We started cheating-in visual accents, like work lights being left on. Since the rest of the mall is visible behind them, those lights opened things up visually.\u201d<\/p>\n

The large 007 Stage at Pinewood Studios was able to encompass the animal dwelling and surrounding mall interior. \u201cIn this kind of situation, I like to build a huge softbox of lights to create a sky feel,\u201d Ballhaus adds. \u201cWe got enough SkyPanels from ARRI to produce this effect, which also let us control the color and sky temperature, making for a wonderfully flexible way to work. I\u2019ve done four movies in London with Gaffer Paul McGeachan, and he agrees that not having to worry about gelling everything, color temps changing, and dealing with the heat output from tungsten makes everyone\u2019s life easier. But we still needed those big 24Ks for sunlight, as there\u2019s no alternative for that kind of effect.\u201d<\/p>\n

McGeachan spent a week pre-lighting and setting looks on the dimmer board.\u00a0\u201cIt let us skirt an age-old issue,\u201d he explains, \u201cwhen the AD comes to you asking if the day and night work need to be scheduled separately. Being able to tell them to do what is best for the schedule was great.\u201d 200 Space Force Chroma-Q lights and 440 SkyPanels were deployed for simulating lighting scenarios ranging from sunny days to moonlit nights. There were also conventional lights on the set where the animals were caged \u2013 Par cans, 10Ks, 20Ks. \u201cSome of that was to give the light some punch from above, which cast some shadows and built the contrast,\u201d McGeachan adds. \u201cBut we had many units on the floor as well.\u201d A 7-foot Octagon with 20 SkyPanels added the necessary fill.<\/p>\n

A small circus tent also occupied space within the mall set, where, McGeachan says, \u201cwe get to see a character on camera operating an old-fashioned follow-spot. Par cans worked well as a functioning source light and to show the limits on equipment this circus faced. For the rest of the mall, we had sources ranging from neon and sodium vapor to tungsten and fluorescents. And there were thousands of lights running in a chaser pattern above the shops, which was quite a job in itself. As a result, the size of our practicals crew on Ivan<\/em> increased, exceeding that of the eight-man lighting rigging crew.\u201d<\/p>\n

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Gaffer Paul McGeachan, who has shot four movies with Ballhaus, says the small circus tent on the mall set included “a character [Ram\u00f3n Rodr\u00edguez as George, above] on camera operating an old-fashioned follow-spot. Par cans worked well as a functioning source light,” he describes, “and to show the limits on equipment this circus faced.” \/ Photo Courtesy of Disney Enterprises, Inc.<\/figcaption><\/figure>\n

Hughes says she and Ballhaus both pushed for the chaser lights.<\/strong> \u201cThey were more expensive, but we felt there were multiple benefits, ranging from the nice reflections to just keeping the background alive and moving while stuck backstage,\u201d the designer explains. \u201cI\u2019ve worked with cinematographers \u2013 VFX people, as well \u2013 who get nervous when dealing with reflections. But Florian used them to good advantage. This 1980s U.S. shopping mall was a quintessentially American look and idea, so doing this in England meant communicating all the subtleties to a local crew. The mall incorporated ideas from outdoor boardwalks, with hand-painted signs, aged to make the place look tired.\u201d<\/p>\n

The mall exterior was shot on location in Florida, with some signage digitally altered. Reverse angles looking out toward the parking lot and roadway built on the plates as reference but were accomplished digitally, as those locations feature prominently during a sequence when the animals stage a breakout and take to the hills for a short-lived escape back to nature. A separate unit deployed for location plate shoots to capture jungle backgrounds used in flashbacks to Ivan\u2019s early life in the wild, as well as other scenic views for the film\u2019s concluding scene in an animal sanctuary.<\/p>\n

To portray Ivan and his non-human cohorts, Davis struck a balance between realism and delivering the expressive requisites of their personalities. \u201cIt was easier with Ivan because he is a primate with facial features not unlike our own,\u201d Davis observes. \u201cWith a lot of ECU\u2019s, we had to put a huge amount of effort into making his eyes the windows to his soul. There was a crew dedicated to just eye shapes and muscles, which built controls for the animators that allowed them to display subtle nuances.\u201d<\/p>\n

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Davis notes that with the extreme close-ups of Ivan, “a huge amount of effort when into making his eyes the windows to his soul. There was a crew dedicated to just eye shapes and muscles,” Davis notes, “which built controls for the animators that allowed them to display subtle nuances.\u201d \/ Framegrab courtesy of Disney Enterprises, Inc.<\/figcaption><\/figure>\n

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Creating Ivan\u2019s eyes demanded a level of sophistication<\/strong> beyond just reflecting the environment. \u201cLight doesn\u2019t just strike the eye,\u201d Davis continues. \u201cIt also bounces around inside various layers, creating incredible caustic effects due to all that subtle imperfect detail on the cornea and the sclera, which are aspects we pick up on automatically when looking into another pair of eyes.\u201d<\/p>\n

The specular hits were particularly important with small creatures.\u00a0\u201cWith Bob the dog, you couldn\u2019t even tell which direction he looked without the speculars being right,\u201d Davis elaborates. \u201cReading the script, Bob immediately emerged as the biggest challenge. People see dogs all the time, so there\u2019s a familiarity that you don\u2019t have with more exotic creatures\u00a0\u2013 one demanding not just photorealism, but also abiding by their limited range of expression. If you push too far with a dog\u2019s face \u2013 even with a wonderful vocal performance like Danny DeVito\u2019s \u2013 it sets off alarm bells it\u2019s not real.\u201d<\/p>\n

In addition to performance issues, there were challenging aspects of the interaction between creatures and the elements. Probably not since What Dreams May Come<\/em> has a movie required such careful magic when it comes to creating paint in the digital realm. \u201cWhen water and paint were involved, I knew the VFX boys were going home to put their heads in their hands \u2013 metaphorically speaking, anyway \u2013 because I was asking for very tough solutions with these elements,\u201d Sharrock admits. \u201cAlong with fur and feathers, these are famously difficult elements to make look real.\u201d<\/p>\n

Those issues came to the fore when Ivan began painting on the glass wall separating him from his audience. \u201cWe wanted a close-up as the paint squished through the fingers of his paw,\u201d Davis shares. \u201cFinger paint spreads unevenly, depending on the applied pressure, which meant getting even more technical aspects worked out to solve the creative question. We had to deal with a similar issue when, [during childhood], Ivan painted with mud, and also when he ran his paw through water. We refined our existing toolsets, which is also what happens as we push hair sims and lighting tools to improve things on every new show.\u201d Shots featuring interaction with liquid elements took so long to perfect that they were finished only days before the final cut emerged.<\/p>\n

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Ballhaus, who found the blending of live-action and virtual filmmaking a largely positive experience, says “we fought hard to make the virtual scenes look like the rest of the movie, so people wouldn\u2019t feel parts were shot by somebody else or that certain scenes suddenly had a generic look instead of matching my lighting style,” he relates. \/ Framegrab courtesy of Disney Enterprises, Inc.<\/figcaption><\/figure>\n

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To prep for the DI, Ballhaus created a look bible during post.<\/strong> \u201cFlorian had set up a solid color pipeline that he later refined,\u201d Davis continues. \u201cWe worked from CDL\u2019s and didn\u2019t deviate much from those. The nightmare is always that when colors get pulled and pushed, all that time and effort to get things looking photoreal becomes lost.\u201d<\/p>\n

Ballhaus says he found the blending of live action and virtual filmmaking a largely positive experience. \u201cCinematographers see things in their own unique way, beyond the craft of exposing and framing properly,\u201d he describes. \u201cWhen I light something, for good or for bad, it is with a particular vision in mind, serving the story and my choice of lens. That individualized choice is not a matter of right and wrong, but perspective.<\/p>\n

\u201cWe fought hard to make the virtual scenes look like the rest of the movie, so people wouldn\u2019t feel parts were shot by somebody else or that certain scenes suddenly had a generic look instead of matching my lighting style,” he concludes. “If we succeeded, it was in large part due to how quickly Thea mastered the visual-effects challenges. Instead of getting caught up in the flow, she had the will to do everything necessary to make this film her own.\u201d<\/p>\n

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Photo by Wallace Michael Crouch \/ Disney Enterprises<\/figcaption><\/figure>\n

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Local 600 Camera Team: The One and Only Ivan<\/em><\/strong><\/p>\n

Florida Unit <\/strong><\/span><\/p>\n

Director of Photography: Florian Ballhaus, ASC<\/p>\n

Operators: Spencer Hutchins, Lance Meyer, Henry Schroeder<\/p>\n

1st Assistant Camera\u00a0Patrick Sokley<\/p>\n

2nd Assistant Camera: Violet Jackson, Juliana Junker, Ognjen Sarovic<\/p>\n

Camera Assistants\/ Technicians: Morgan Davis, Anthony Gerace, Michael Howell, Kenny Rivenbark, Ernest Rydberg, , John Slade, Louis Smith<\/p>\n

Digital Imaging Technician: Joe Dare<\/p>\n

Digital Utility: Ian Hernand<\/p>\n

Loader: Jaime Striby<\/p>\n

Unit Still Photographer: Wallace Michael Crouch<\/p>\n","protected":false},"excerpt":{"rendered":"

Florian Ballhaus, ASC, guides Disney +’s The One and Only Ivan through a thick jungle of live-action and virtual workflows. by Kevin Martin \/\u00a0Photos by Wallace Michael Crouch and Simon Mein \/ Framegrabs Courtesy of Disney +\u00a0   Art is just one of many channels humans use to express their creativity, but it is not exclusively reserved for people. A case in point was the real-life silverback gorilla named Ivan, who, after being captured in his youth and raised in […]<\/p>\n","protected":false},"author":2,"featured_media":10405,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[10],"tags":[],"class_list":["post-10382","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\nBeautiful Dreamers - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/call-of-the-wild\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Beautiful Dreamers - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Florian Ballhaus, ASC, guides Disney +’s The One and Only Ivan through a thick jungle of live-action and virtual workflows. by Kevin Martin \/\u00a0Photos by Wallace Michael Crouch and Simon Mein \/ Framegrabs Courtesy of Disney +\u00a0   Art is just one of many channels humans use to express their creativity, but it is not exclusively reserved for people. 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