{"id":1240,"date":"2011-03-07T09:21:09","date_gmt":"2011-03-07T17:21:09","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=1240"},"modified":"2014-05-29T21:41:48","modified_gmt":"2014-05-29T21:41:48","slug":"theres-no-place-like-home","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/theres-no-place-like-home\/","title":{"rendered":"There\u2019s No Place Like Home"},"content":{"rendered":"

Cinematographer Robert Presley leads a team of ICG camera operators for Disney\u2019s new 3D performance capture kid-flick, Mars Needs Moms<\/em>
\n<\/strong><\/p>\n

Minnesota-born writer Margaret Culkin Banning once observed that a mother \u201cnever leaves her children at home, even when she doesn’t take them along.\u201d That heartfelt fact certainly hits home for the young hero of Disney\u2019s latest 3D adventure tale, Milo (Seth Green), when he sees his mom (Joan Cusack) shanghaied from his home by Martians. Following her to the Red Planet, Milo meets up with a likeable fellow named Gribble (Dan Fogler) and initiates a rescue effort, while surviving encounters with all manner of extraterrestrial oddities.<\/p>\n

Experienced in both live-action (The Time Machine<\/em>) and animated features (The Prince of Egypt<\/em>), director\/co-writer Simon Wells was a perfect fit for the first 3D motion-capture based animated feature effort from ImageMovers Digital (IMD) that did not have<\/em> director Robert Zemeckis at the helm. Zemeckis, who formed IMD in the 1990s and created The Polar Express<\/em>, Beowulf<\/em> and A Christmas Carol<\/em> [see ICG November 2009], would act as producer this time out.<\/p>\n

After developing the screenplay based on the popular Berkeley Breathed children\u2019s book, Wells undertook a study of other 3D movies. \u201cFrankly I\u2019m not a fan of things flying out at you,\u201d the filmmaker states, \u201cthough there are times it is appropriate. But I am a big fan of depth effects. Not just huge yawning depth, but the kind of depth that reveals itself as you dolly around an object. I thought How to Train Your Dragon<\/em> was successful in utilizing a [live-action] cinematographer [Roger Deakins, ASC] to make the film more cinematic, and since I like strong light sources and deep shadows, getting our scenes properly lit was a major objective for me as well as for our DP.\u201d<\/p>\n

If Zemeckis can be considered the commander-in-chief of the mocap wars, then director of photography Robert Presley must rank as his most distinguished field general. The cinematographer\u2019s involvement with the unique 3D workflow dates back to The Polar Express<\/em>. The mocap process, often referred to as \u201cperformance capture,\u201d utilizes an array of Vicon digital cameras as well as operator-controlled reference cameras set up on a gray-curtained stage (the \u201cvolume\u201d) laid out only with tape to indicate walls, and wood framing on the floor to suggest scene objects. Overhead Kino Flos typically illuminate performers in the volume, though this time out Presley sought to embellish those with lights directed horizontally. \u201cWith facial capture, computers can be fooled by shadows,\u201d he explains. \u201cThese additional Kino Flos filled in the faces, which helped with head cam data.\u201d<\/p>\n

Each new setup in the mocap volume takes only 15 minutes to mount, so a talented cast can blow through large page counts in a short amount of time, not unlike actors rehearsing for a stage play.<\/p>\n

\"\"<\/p>\n

\u201cThe beauty of mocap,\u201d recalls Wells, \u201cis that it doesn\u2019t slow down the actor\u2019s process \u2013<\/strong> they\u2019re free to have at the full scene, giving it all their energy and focus.\u201d The actors, garbed in black and crowned with a head rig for facial capture, each wear their own color patch to aid in identification for animators.<\/p>\n

On past 3D Zemeckis shoots, Presley operated a Steadicam\u00ae, a roving reference camera eye \u2013 dubbed \u2018mo-cam\u2019 \u2013 while a team of Local 600 camera operators controlled sticks-mounted units. Wells opted to dispense with mo-cam in favor of caster-mounted tripods, and the occasional handheld shot. \u201cSimon understood and accepted that if one actor blocked off another, the data on a camera would fall apart,\u201d Presley continues. \u201cWe\u2019d just have to establish coverage that let us pick up that data from another camera, or do another take. With motion capture, we\u2019re gathering data for the animators, so it doesn\u2019t have to be picture-perfect.\u201d<\/p>\n

Wells\u2019 approach to the 3D workflow was unique \u2013 a kind of live-action previsualization before animation even began. While mocap was underway, Guild operators shot video reference with a general notion of the camera angle Wells had in mind. Then editor Wayne Wahrman and Wells did a performance assembly before the data got turned into a 3D render. \u201cI\u2019d do thumbnail drawings of each shot and take them to the Director\u2019s Layout [DLO] unit next door,\u201d Wells recounts, \u201cwhere Eric Carney and his crew [from L.A.-based previs firm The Third Floor] made up low-res shots, which then came back<\/em> to editorial. It was like being able to do reshoots the day after filming, but with the knowledge that the performances will always be perfect.\u201d<\/p>\n

The responsibilities of Guild camera operators were twofold. \u201cAs always, our main objective is to provide solid reference, especially of faces, for the animators,\u201d states lead operator Brian Garbellini. \u201cBut when Simon wanted all the characters looking screen left, we\u2019d have to reflect that decision with most of our camera placements, which might leave us with incomplete data. So we\u2019d hold a few cameras back when possible to move around and maintain good frontal coverage on faces. Then there was the matter of framing to Simon\u2019s requirements while also pulling focus, so you\u2019ve got some left-brain\/right-brain action going on, and if you\u2019ve just come off a traditional show, it takes a day or two to get right with it. \u201d<\/p>\n

Garbellini found Presley\u2019s instincts for coverage invaluable. \u201cBob reminded me that details like hand gestures are difficult to animate from scratch, so capturing those little moments was important,\u201d Garbellini continues. \u201cMost of our operators were mocap veterans, so we all watched each other\u2019s back. An operator might tell me that an actor in the group was squatting down in rehearsal, so I\u2019d add a low locked-off camera to cover that action.\u201d If there were insufficient cameras to capture all key details, Garbellini would reassign a certain number of cameras on take two, knowing that if necessary, animators could do a blend between takes in animation.<\/p>\n

\"\"<\/p>\n

Processing of motion-capture material<\/strong> involved data cleanup and then application to digital characters, which were then incorporated into virtual sets. IMD animation supervisor Huck Wirtz says his team relied on Autodesk\u00ae Maya\u00ae for primary animation. \u201cMotionBuilder\u00ae was good for plugging in and editing the mocap, and for getting feedback on lower-res models, which could be viewed at or near real-time,\u201d Wirtz confirms. \u201cAfter Simon went through DLO and had this video-game resolution cut of the movie, then it could go to animation. That made things a lot more efficient, because when cleaning up motion capture to make it really high fidelity, we worked only on the stuff he chose. That gave us solid reference for composition, from eyelines to how the camera would move.\u201d<\/p>\n

Another reference used for full-res animation was a digital \u201cKabuki Mask\u201d process, which allowed animators to project actors\u2019 faces back onto their characters. \u201cSimon had fallen in love with what the performers did on set,\u201d Wirtz recounts. \u201cWhile their features were obviously different from those of Milo, Gribble and the Martians, doing a check on their expressions could at time give us a good lead or inspiration.\u201d<\/p>\n

Wells assembled a color script early on that indicated palettes for each scene, and then adjusted the colors for the emotional effect of any given scene. But he needed live-action style lighting to get the color scripts to play as he wanted in CG animation. \u201cBob wondered why we couldn\u2019t build virtual lights to cast onto characters and objects in a believable real world way,\u201d the director states.<\/p>\n

To achieve the impression of bounced light sources on A Christmas Carol<\/em>, Presley had ImageMovers artists create and position extra virtual lights, essentially faking every desired bounced effect. For Mars<\/em>, the DP\u2019s goal was a more naturalistic lighting scheme.<\/p>\n

\u201cOur virtual lights, which IMD called indirect lighting, bounce off walls and objects to create much more realistic effects,\u201d Presley points out. \u201cWhen illuminating a character\u2019s face, light would bounce off the bridge of his nose and fill the eye sockets a bit.\u201d<\/p>\n

Wells confirms the efficacy of Presley\u2019s approach, adding that, \u201cWe had a scene with two characters going through corridors, and they decided to render the scene without the characters, just to see what it would look like with these lights on. It came out near-enough perfect, proving that when you have a live-action cinematographer setting lights that work like real lights, the scene will be properly lit.\u201d<\/p>\n

\"\"<\/p>\n

The duties of IMD\u2019s visual effects supervisor Kevin Baillie<\/strong> ranged from checking if \u201cflesh\u201d looked properly human (or Martian) in hue to ensuring that CG eyes registered in a way that didn\u2019t land the character square in the middle of the so-called uncanny valley. \u201cEach department had between 10 and 40 people,\u201d Baillie explains, \u201cand most of these artists have their own specialties: One would build the character, another did the skin and yet another would do the texturing.\u201d<\/p>\n

Since Mars<\/em>\u2019 action takes place in a variety of locales, the art direction challenges were widespread. \u201cThere\u2019s a chase on the surface [of the planet],\u201d Baillie continues. \u201cBut most of the time we are underground, either in the squeaky-clean, austere Martian cities or beneath them in a gritty trash world where Milo meets Gribble. There was a lot of complex geometry in these environments, but we had tools that let us know what the camera would see, so we didn\u2019t build or detail anything that wasn\u2019t going to show up.\u201d<\/p>\n

The cities were mostly shiny metal and plastic \u2013 a computational nightmare \u2013 so IMD staffers devised cheats to avoid having to deal with impossibly long render times. One of the show\u2019s biggest artistic challenges was a scene of Milo and Gribble falling into a river.<\/p>\n

\u201cOur [senior look development] artist Robert Marinic spent months on a technique to grow these glowing, barnacle-encrusted lichen,\u201d Baillie adds. \u201cThey cast light onto the terrain, and could define and control the lichen placement either by painting textures or by having us generate an ambient inclusion pass for the whole environment; whenever objects were close together, you\u2019d get the darkness that comes from partial shadowing, and it would add lichen in these areas where rocks butted up against each other, just like moss in nature.\u201d<\/p>\n

Stereo supervisor Anthony Shafer broke the script down with Wells into units of depth on a per-scene basis. \u201cWhen the narrative goes strong, depth increases, and when the narrative softens, the depth usually backs off,\u201d Shafer observes. \u201cOur research revealed that matching dimensional depth to emotional levels worked very well; in fact people are tuned to see other humans at a particular level of roundness, so the flatter a character appears, the less engaged a viewer becomes.\u00a0 Our settings for character roundness related to how we felt the character played for the audience in a particular scene.\u201d<\/p>\n

Shafer\u2019s bag of tricks relies on fooling the human visual cortex by tapping into emotional dials and changing audience perception of camera perspective. \u201cA [3D animation] stereographer can force the eye into seeing the character as smaller or larger by varying the convergence from each eye,\u201d he adds. \u201cSo when Milo felt small, we could actually push him visually in that direction for the audience.\u201d<\/p>\n

\"\"<\/p>\n

The neatest trick involved putting the proscenium arch on a virtual gimbal.<\/strong> When the audience sees stereo in RealD or Dolby\u00ae, they see a world that at times comes out toward them. But, Shafer adds, there\u2019s always awareness of the screen, so a cardinal stereography rule is \u201cnever break the frame, because the stereo effect is ruined when one eye has a view that hits this edge. To avoid this, we developed a means to float the screen further out into the audience, thus avoiding edge error and tricking viewers into thinking the images are still behind the screen. This floating window gives us more depth to play with, increasing the dynamic range of stereo, and can affect audience physiology and emotions in other ways. By tilting the window forward, you create an illusion of falling when Milo looks down into a cavern; tilting it back as he looks up at a building causes viewers to sit back in their seats.\u201d<\/p>\n

Shafer worked with Hugh Murray of IMAX to produce a slightly altered version of the film. \u201cThe geometry of IMAX theaters and screen dimensions don\u2019t let you set floating windows, so we wrote software allowing us to create a slightly deeper version for the whole film.\u201d<\/p>\n

Adds Wells: \u201cThere are shots I wish we could have held on longer, but I didn\u2019t anticipate the stereo effect would be so successful. The current cut works best in 2D, but a longer version of the film, one that played a bit more slowly, would have been ideal for 3D venues.\u201d<\/p>\n

When Disney announced in early 2010 that ImageMovers Digital was closing, the announcement came as a surprise for many long-time staffers. Presley says the move heralds a sea change, as he returns to conventional 2D filmmaking and its shorter tenures of involvement.<\/p>\n

\u201cWhen I started on Polar Express<\/em>, what I thought was a two-month job became two years,\u201d the DP smiles. \u201cAnd it was a similar commitment for Beowulf<\/em> and Christmas Carol<\/em>, because we\u2019re talking about more involvement than just motion-capture process up front and timing at the end. With Mars<\/em>, the [virtual] indirect lighting took a long while to work out, and I\u2019m still timing the various releases. I hope to be able to use my motion-capture experience again, but I\u2019m sure getting back to the live-action world will be an interesting experience.\u201d<\/p>\n

By Kevin H. Martin \/ photos by Joseph Lederer \/ Walt Disney Pictures<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Cinematographer Robert Presley leads a team of ICG camera operators for Disney\u2019s new 3D performance capture kid-flick, Mars Needs Moms<\/p>\n","protected":false},"author":1,"featured_media":3494,"comment_status":"open","ping_status":"open","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":[2],"tags":[37,140,138,139],"class_list":["post-1240","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-icg-magazine","tag-mars-needs-moms-3d","tag-mars-needs-moms-cinematography","tag-robert-presley"],"acf":[],"yoast_head":"\nThere\u2019s No Place Like Home - 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\/theres-no-place-like-home\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"There\u2019s No Place Like Home - 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