SpaceStation Thelion

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Naturally, it is easier to anthropomorphize a primate or orangutang than a lion. For the new film, the team decided to tweak the artistic vision or look of the animals. Oscar-winning animation director Andy Jones at MPC was once again in charge of the team that would deliver these even more nuanced animation performances. Jones and his team at MPC refined their animation approaches and character rigging to deliver an even more subtle set of speaking animals.

The difficulty of the task of building the elaborate system that would allow the filmmakers to film a major Disney film in VR is not to be underestimated. The process relied on game technology to provide real-time performance. But when the Magnopus team started work in building their system in Unity, the high-performance engine did not even have a timeline. To do this the Magnopus team had to heavily modify the code and write themselves something that was effectively going to become the beginnings of a timeline in Unity. The team did not run Unity complied, which was an unexpected decision.

This decision was related to the problem of changes. By running Unity in editor mode, new assets could be added at any time, without restarting. This was a major difference in the practicalities of filming. The system had to work with very low latency. It is nearly impossible to operate a virtual camera if it does not feel immediate. If one pans a camera and stops on exactly what you like in the viewfinder — but actually there is a latency lag, then when the operator stops, — the system keeps tracking on for a beat longer and overshoots.

The latency is directly related to scene complexity. The team, therefore, had to be very skilled at translating high-density assets into low poly count assets that would allow good performance on the soundstage. A series of tools were developed to both decimate assets and to convert any visually distant assets into a temporary cyclorama.

It was important for the filmmakers to see off into the distance in the wide shots, but with a square kilometer virtual set, only the assets within a few hundred meters needed to be fully 3D at any time.

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The needs of high-performance game engine playback and yet rich visual film assets are competing goals. The solution ended up being an implementation of multiple levels of rendering. That one machine could like barely render 20 frames per second, but looked a lot better, as it was using the high-quality assets.

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This second lighting machine had soft shadows and better key lights etc. Both of these computers were designed to aid in live production. This computer was not used of live production filming but it was placed in an automated sequence pipeline to produce the best imagery for editorial. A second shot could be automatically re-rendered in roughly 4 minutes and loaded in the background, ready for the editing team whenever they needed it. A second per frame is very slow for a game engine but lighting fast compared to final VFX render speeds, which can take hours a frame to produce.

Luther The Lion Reading A Book and A Space Station Background

This worked extremely well, but in the early stages, there was provision to puppet a digital animal on set to explore blocking or trail a new idea. In the end, all that was required was the ability to occasionally slide a character so that from the camera view the action was clearer or the blocking was slightly adjusted. The voice actors recorded dialogue individually, with the exception of some scenes. As with all the animation, this done to get good voice performances and was not recorded for motion capture.

It was filmed for reference and later editorial discussion. These clips would be the reference clips that we would send to the animation team and that audio could be cut into editorial. These devices were either physically encoded or optically tracked by 3d printed mechatronics designed by hardware supervisor Jason Crosby. The process proved so effective that the team did not need vast spaces. The final system was primarily the Magnopus VPS developed further from the D23 test and constantly refined and added to as the production needed.

These assets both environmental and character were logged into the virtual stage management system. MPC maintained a database so all the assets were version numbered and every piece of data related back exactly with the correct version of the asset, take, scene and edit.

This automated process was vital as assets would round trip to and from the stage, and any changes needed to be automatically logged and recorded. Once a scene was shot, it could be immediately reviewed in the editorial machines at the back of the stage. Every aspect of each take was recorded, as individual channels references with the day and time of the take, take number and the relevant asset register of character and environment version numbers. Magnopus engineered The Loin King sound stage to also look and feel very different from the earlier Jungle Book stage.

On The Lion King , there was no imposing presence of technology on the stage. While many respects of the new film were vastly more complex than The Jungle Book; when the creatives walked on the set, everything was simple and easy to set up, with most of the 20 VPS computers not even on display.

The stage was carefully staffed so there were not loads of people on the stage just sitting in front of computers. Ben Grossmann noticed that the better the quality of the animation and the playback that crew was seeing onset, the more engaged the crew were in the detail of their own work. It mattered that the animation from MPC was not rough blocky old-style previz, but rather refined and articulated animation.

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The level of engagement of the film crew always went up and people took it more seriously when the imagery was more refined. This is why the production bothered to produce the material to the level they did. One of the interesting aspects is that this project reduced the need for second unit. The virtual production stage team in LA did not have great time pressures or schedule issues.

Moving locations took only seconds.

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If a location needed to be revisited for a pickup shot this could be done again in minutes. We rarely had to, but if we wanted to, you could easily because you could technically run three or four shoots that are totally independent, running completely different scenes, in that same stage at once.

This style of filmmaking, while designed for traditional film making collaboration, also allows for a new form of multi-track filmmaking.

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For example, if there was a complex shot, and just one person, perhaps the focus puller, was slightly off in their timing. It was possible to play everything at half speed to aid in pulling off an otherwise nearly impossible refocus, or any other manner of playback speeds. A production in the future could go even further, not that the Lion King team did this , but the DoP could have chosen to do every role himself and just lay down the shot in multiple passes. This is analogous to a modern audio recording. The opening shot is a very good example of how the film making process lent to a form of natural reactive digital cinematography.

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The film opens with a small mouse scampering through the long grass and along rocks and logs. Thus this opening sequence has a very live-action feeling as the camera is a fraction behind in its framing in a way that feels completely natural. This respect for the traditional craft of film making, dating back to analog earlier times, was key for making the audience see the highly realistic animation as live-action footage.

While the digital tools were modeled to capture the limitations of their real-world equivalents, they were also highly flexible. For example, a techno crane could be mounted on top of a dolly, on top of a cliff, in just minutes. It was also possible to travel vast distances in the virtual world, and so the team quickly added a special feature in the VR menus that allowed the crew to immediately teleport to where ever the director was.

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The crew was always able to hear Jon Favreau talking to them as they were in reality only a few feet away from him, but especially during virtual scouting of locations in VR he might end up virtual miles away. In which case the creature would walk with its own walk cycle, but move where ever the individual moved in VR and additionally, wherever the real person looked, the animal would also look in that direction.

Not all the crew operated in VR all the time. The basic stage was just an empty box when the team first moved in. First, the team soundproofed the facility ready for the BlackBox theatre. The space needed to be able to be divided into different volumes for the VR gear to work. Each space had to have isolated infrared, with the walls painted matte black so they would not reflect any of the infrared beams.

He could then be able to see that with the smoke and special goggles. The stage was then fitted out with one of the first Opti-track active tracking systems. The active tracking solution mainly consists of a Base Station and a set of active markers. There were some custom-built machines the team made for unique or special uses. Bomer is a technician with a robotic hand who is married to a manipulative woman Coughlan. Plotnick is an actor who has quietly made a name for himself as a playwright and as an acting coach. The script originated as a play he and some other actors co-wrote. He was trying to use the space station as a metaphor for his life growing up in s suburbia.

To make his debut, Plotnick leaned on his acting relationships.

Now with a day shoot behind him, Plotnick is staring at a daunting post-production process to add visual and sound effects. He laughs at the thought that making a space-set story was perhaps a little crazy and overly ambitious for a directorial debut that is more emotional than plot-driven. Star Wars Interviews Comics Watch.

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  • October 25, pm by Borys Kit. Matt Bomer also stars in the directorial debut of playwright and acting coach Jack Plotnick. This Week In Heat Vision breakdown. Email: Borys. Kit thr.