{"id":1709,"date":"2011-10-03T16:12:32","date_gmt":"2011-10-04T00:12:32","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=1709"},"modified":"2014-05-29T22:34:24","modified_gmt":"2014-05-29T22:34:24","slug":"raging-bulls","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/raging-bulls\/","title":{"rendered":"Raging Bulls"},"content":{"rendered":"

Oscar winner Mauro Fiore, ASC jumps back into the VFX ring for the new robot-boxing drama, Real Steel<\/em><\/strong><\/p>\n

In Real Steel<\/em>, Charlie Kenton (Hugh Jackman) is a boxer who, in trade parlance,<\/strong> \u201ccould have been a contender.\u201d But in the not-too-distant future, after human prizefighting is outlawed, boxing becomes a \u2018robots only\u2019 sport, forcing Charlie to keep his hand in the only way he can: managing low-end battle \u2018bots. Reuniting with his estranged pre-teen son (Dakota Goyo), Charlie is inspired to build a fighting machine that can knock everyone\u2019s block off, and go the distance.<\/p>\n

While evoking every classic boxing movie from The Champ <\/em>to Rocky<\/em>, Real Steel<\/em>\u2019s storyline actually derives from Science Fiction Hall of Fame inductee Richard Matheson\u2019s short story Steel<\/em>, which the author adapted into a poignant Twilight Zone <\/em>episode starring Lee Marvin. Nearly 40 years ago, Matheson\u2019s adaptation of his story Duel<\/em> resulted in a memorably harrowing TV-movie that launched the career of Steven Spielberg, who executive produced Real Steel<\/em> and convinced Shawn Levy to direct. Cinematographer Mauro Fiore, ASC, came aboard shortly thereafter, as he recalls: \u201cI had a two-hour meeting where Shawn described the film conceptually. He had this melancholy view of the future that involved looking back at imagery of a nostalgic past.\u201d<\/p>\n

Levy showed Fiore boxing images of Muhammad Ali, along with classic 1950s-era photographs; and (even after his Oscar-winning turn on Avatar<\/em>) Fiore was reluctant to use digital capture, given Levy\u2019s film-only reference. \u201cI had to be convinced by the visual effects department,\u201d he admits. \u201cI think there\u2019s a bit more flexibility in the DI when originating on film, but for this picture\u2019s technical needs, digital was the way.\u201d<\/p>\n

\"\"<\/p>\n

Those needs revolved around a digital workflow that <\/strong>incorporated material of motion-capture human performers and 8-foot tall CGI robots, played back on the Detroit-area locations via monitors. Executive Producer\/First AD Josh McLaglen, who has worked on Levy\u2019s last four movies, explains that the industry has always catered toward a strict division of labor – prep, shoot and post \u2013 which didn\u2019t fit the unusual demands of Real Steel<\/em>. \u201cWe\u2019ve tried to alleviate post issues up front by pre-producing our movies to a state of readiness that enables the director and VFX house to determine the number of shots and their duration, which saves time and dollars on the back-end,\u201d McLaglen describes. \u201cDigital Domain, under VFX supervisor Erik Nash [see Exposure<\/em>, this issue], was interactive and pro-active, improving shots as well as finding solutions.\u201d<\/p>\n

In fact, Real Steel\u2019s <\/em>in-house virtual art department first devised robot concepts, then built those assets with 3D rigging. \u201cDD would clean up the render, ensuring the range of motion worked for each 3D character \u2013 avoiding collision interpenetration between clavicle and cervical, for example \u2013 before kicking it back to us for data acquisition,\u201d McLaglen adds.<\/p>\n

Motion capture sessions were done at Giant Studios, where performers enacted boxing sequences \u2013 even though principal photography would not begin until months later. Video reference of the fights allowed Levy to quickly assemble a cut before making selects from the real-time mocap, which was then motion-edited to create the proper mass\/speed impression for much larger figures, since the robots stand about two feet taller than the humans portraying them.<\/p>\n

\u201cWith motion editing and scale offsets done, we\u2019d have robots with appropriate lumbering movements, rendered at 8-foot tall, before going to Virtual Camera,\u201d McLaglen continues. \u201cVC shoots the coverage in the style used on the Zemeckis animated films [see ICG November 2009 and March 2011]. We\u2019d often shoot a whole sequence virtually, creating a roadmap for the live-action to follow. In addition to the mocapped robots, we could put in proxies for Hugh and Dakota and cards to represent the crowd, then shoot the various angles on virtual camera platforms with appropriate focal lengths, cutting Avid events or storyboards that made it seem like we\u2019d lived it before going out on location.\u201d<\/p>\n

McLaglen says this previz-minded workflow allowed other aspects of production to be addressed during prep. \u201cWhen holding what we called complexity meetings with department heads,\u201d he continues, \u201cI\u2019d project a previsualization so we could all talk out a sequence. If somebody saw they\u2019d need more space to get a rainbar into a particular location, then another department would know to order a bigger crane to avoid crowding him. And we had the locations scouted in the computer, enabling us to time-lapse across a whole day to determine where the sun will be. Mauro might need to shoot backlit coverage of the kid, who has shorter hours of availability, and at a glance I can tell him what time of day works for that light, and schedule around that constraint.\u201d<\/p>\n

\"\"<\/p>\n

Fiore says he tested several cameras,<\/strong> including the Genesis and ARRI D21, finding the latter\u2019s sensitivity to light a bit low for his taste (\u201cthough\u201d he says, \u201cthe optical viewfinder was enticing\u201d). He settled on Sony\u2019s F35, which featured genlock \u2013 an absolute necessity given the need to synchronize mocap with live-action. After experimenting with the newer 12-bit F35, Fiore elected to stay with the proven version, provided by Otto Nemenz, rating the image at an ASA equivalent of 400 and framing for a 2.4:1 aspect ratio. \u201cWe benefitted from the efforts of Ryan Sheridan at Nemenz, who had committed to a fiber [optic] <\/strong>cable system that let us record to Codex with perfect transmission,\u201d Fiore says, \u201cwhich was significant because of all the meta-data, such as Simulcam information.\u201d<\/p>\n

The F35 cameras were tethered via fiber cable to a mobile lab set up off set, where a dailies colorist prepared one-light dailies using a pair of Codex Digital Labs. The Codex boxes were used to create deliverables (linked to the original camera data) for review, editorial, visual effects and back-up purposes, and to make meta-data available to the various post departments. The latter included not just simple shot information, but also detailed notes made by Levy and Fiore about specific shots and scenes.<\/p>\n

<\/strong>Real Steel c<\/em>rewmembers (who McLaglen calls the film\u2019s \u201cbrain bar\u201d) had previously worked on Avatar<\/em>, for which the Simulcam system was developed by Videohawks Virtual Production Supervisor Glenn Derry. The Simulcam system freed up James Cameron to shoot his actors on the mocap stage while seeing on a monitor in real-time how they would roughly appear as their alien characters in an approximation of the appropriate landscape. \u201cFor this film, we relied on Simulcam-B,\u201d McLaglen says, \u201cwhich involves playing back previously acquired performances as a data acquisition into a live action environment. We used it maybe a dozen times on Avatar<\/em> but Real Steel <\/em>had ten times as many shots. We couldn\u2019t play back a full Avid event assembly, but it could handle a section at a time, so while on location, the director would be able to see the previously acquired performance for the robots beginning to square off on his monitor.\u201d<\/p>\n

Live-action work was based at Raleigh Studios Detroit. And because Fiore prefers to initiate color correction on set, a location trailer with Avid Unity and Truelight systems was set up, utilizing miles of the Nemenz fiber to link cameras with video assist via their own Videohubs.<\/p>\n

\u201cEven recording [4:4:4] RAW,\u201d Fiore explains, \u201cI like making the look more polished, with an indication of where the image is going in timing.\u201d But on-location correction proved unwieldy, so a timer was brought in to manage color issues from the controlled environment of an office, ensuring dailies would reflect the intended look. \u201cAs a DP I didn\u2019t want to spend my time in a tent. I prefer to work right next to the director, finding solutions to problems as they arise. Shawn really moves things along pretty efficiently, so we\u2019re there to work, without much time for contemplation.\u201d<\/p>\n

\"\"<\/p>\n

Many of the film\u2019s boxing matches take place in different arenas<\/strong>. In addition to the Silverdome and a dried-out polar bear pool at the local zoo, fights were staged with multiple redressing of Detroit\u2019s famed Cobo Center, while a nearby firehouse was transformed into a gym set. SteadiCam operator David Emmerichs reports that, \u201cour grip and lighting crew made the decayed industry look really work for us. There were a couple of sets built in old warehouses, but mostly we worked in practical locations.\u201d<\/p>\n

According to Fiore, each location had its own complications, due primarily to the need for customization. \u201cWe shot at the historic [Ford] Model-T factory [in Highland Park], which required a full tent \u2013 about 600-foot by 80- foot \u2013 for blocking daylight. The building also had to be prepared for rigging which was difficult in places.\u201d At Fiore\u2019s suggestion, Key Grip John Janusek and Gaffer Chris Culliton, and their teams, surveyed locations prior to prep, providing preliminary budgeting data that helped determine cost and complications beforehand while building on the virtual landscape data already in the system. <\/strong><\/p>\n

Since this film\u2019s future wasn\u2019t all touch-screens and jetpacks, only light touches were used to convey a different look. \u201cIt is a future that looks like the past,\u201d Fiore notes. \u201cA kind of sentimental thing with \u201850s design elements, even in the vehicles. For the boxing matches, I didn\u2019t want the standard concert-with-moving-lights thing, and avoided photographing any trusses because that suggests concerts too. I achieved most of the different looks through LED light ribbons, which gave unique accents to each venue, depending in part on the architecture of the location. At the top of the ring, I had fluorescents inside metal grates; whenever possible we preferred designing new kinds of lights rather than use a practical as-is, just to give a special flair to each setting.\u201d Vari-Lites were also employed for the bouts.<\/p>\n

A number of scenes involving robots either walking around or entering the ring required a different capture methodology, one implemented on location. \u201cImage-based-capture [IBC] allowed us to record a physical presence on set that the actors could see and relate to,\u201d McLaglen explains. \u201cWe\u2019d put stilts on human performers to get them up to the appropriate height level to provide an eyeline. Like Simulcam-B, you can see the composition, and it is all right there in front of you so there\u2019s no chance you\u2019ll give the animated character a haircut through blind framing.\u201d<\/p>\n

An array of Sony EX3s were used on set to provide IBC video reference from all sides, which would allow Digital Doman to composite a CG robot over the human stand-in, an approach employed for much of the South African indie hit, District 9<\/em>. \u201cGlen Derry had infrared LEDs on our camera, plus infrared cameras to track our camera and Technocrane,\u201d David Emmerichs states.\u00a0 \u201cPlus there was great lighting reference available from the full-size physical robots.\u201d Legacy Effects provided nineteen robots, many of which could be puppeteered on camera for closeups, augmenting the CG effort.<\/p>\n

While Fiore used Cooke S4 glass for most of the shoot, the SteadiCam boxing action employed Angenieux\u2019s short zooms. \u201cThose lenses were very high quality and let us change focal lengths quickly for the fights,\u201d Fiore says. \u201cSteadiCam seemed to be the right tool to replicate what was done on the mocap stage with the Simulcam system.\u201d<\/p>\n

Working on elevated parallels \u2013 platforms that deploy like a folding chair \u2013 arranged at different heights around the ring, Emmerichs could descend or ascend while executing circling SteadiCam moves. \u201cThe parallels let me get close to robot-eye level in the ring,\u201d he explains. \u201cIn addition to being able to see the mocap on monitors to get a precise idea of the fight choreography, we\u2019d also get an overhead view of the ring, indicating the path of the camera and the speed we\u2019d need to move to get from one position to the next. This ensured the mocap really matched with the drama.\u201d<\/p>\n

\"\"<\/p>\n

Acknowledging that the film required an epic quality in key sections<\/strong>, Fiore relied on the Technocrane nearly every day, citing the lack of flexibility in fixed-arm units. \u201c[Steadicam] allowed to us show off the various venues and put across this past\/future look in a big way,\u201d he notes.<\/p>\n

The zoo location was one such epic moment, playing host to aerial shooting by David B. Morell, who, like Emmerichs, benefitted from seeing the virtual fighters played back on set before composing his frames. Morell also shot helicopter footage of Kenton\u2019s <\/strong>truck making a cross-country trek to his next bout. \u201cThat was some dynamite stuff,\u201d he reports. \u201cWe followed this green covered transport through a beautiful dusk setting pretty closely. Spacecam stabilization is superior, and together with a RAMS articulated arm, which banks the camera opposite from the copter\u2019s banks, we can track along either side or come straight in at a subject while mounted in the nose position.\u201d Low light levels forced Morell to abandon the F3.5 10:1 zoom lens used in daylight shooting, in favor of a 4.7:1, 17-80 Angenieux Optimo that afforded him a stop and a third more in exposure.<\/p>\n

After editorial and VFX wrapped, Fiore supervised the digital intermediate, timed by Skip Kimball at Modern VideoFilm. (Modern had also calibrated monitors on-set and provided color-corrected dailies.) \u201cThe DI went very smoothly, due to our VFX producer Ron Ames having ridden herd on color issues,\u201d Fiore recounts. \u201cHe had our timer go through everything again, in case there was a day where the correction hadn\u2019t been all the way there, so micromanaging color issues really paid off.\u201d<\/p>\n

Bringing in a VFX-heavy feature for $80 million is no mean feat, and Josh McLaglen, a veteran of the some of the most complex logistical films in recent memory, points to the unique workflow as a big part of that process. \u201cIf you\u2019ve got two ordinary people talking over coffee or even fighting each other for most of your movie, our production paradigm is unnecessary,\u201d he concludes. \u201cBut if two of the four main characters are paranormal, it makes really good sense, and is a cost-effective methodology for budgeting complex films. Avatar<\/em> was translated virtual-to-virtual, only rarely with humans being interactive. But this one is going virtual-to-live-action in the real world. To accomplish that, I think we used the tools better this time.\u201d<\/p>\n

By Kevin H. Martin \/ photos courtesy of Dreamworks SKG<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Oscar winner Mauro Fiore, ASC jumps back into the VFX ring for the new robot-boxing drama, Real Steel<\/p>\n","protected":false},"author":1,"featured_media":3463,"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":[37,125,124,126],"class_list":["post-1709","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-icg-magazine","tag-mauro-fiore-asc","tag-reel-steel-cinematography","tag-reel-steel-vfx"],"acf":[],"yoast_head":"\nRaging Bulls - 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\/raging-bulls\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Raging Bulls - 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