Archive for the 'Special effects and CGI' Category
Real-time performance-capture images for The Adventures of Tintin.
The Extraordinary Voyage (2011, Serge Bromberg and Eric Lange)
I had expected to follow up my entry on Hugo when the DVD was released. I anticipated that its supplements would explore the flashy technical and artistic aspects in detail. But the lengthy first chapter proved to be largely the cast and crew presenting variations on how lucky they were to have worked with Martin Scorsese (and each other) and how much they learned from him.
That wasn’t promising, and I turned instead to Georges Méliès himself. Flicker Alley, which has served the filmmaker so well in the past (see here), has recently released the restored color version of A Trip to the Moon in a Blu-ray/DVD combination set. It is accompanied by a 65-minute documentary on the Méliès, the film, and the restoration. It’s odd to call a 65-minute film that accompanies a fifteen-minute “feature” a supplement, but I recommend it anyway.
I suspect that The Extraordinary Voyage would be quite effective in easing students into very early silent cinema and intriguing them about an era that must seem hopelessly remote to them. It begins with a charming introduction to the context of the turn of the previous century and then moves quickly into the director’s young-adult life. When it comes to the famous incident in which Méliès’ camera jammed while he was filming, creating an inadvertent magical transformation, the filmmakers have an actual 1937 recording of Méliès himself describing the event. Presumably this was the original source of this oft-repeated anecdote. He specifies that it happened on the Place de l’Opéra and involved a bus turning into a hearse. I still wonder if it all happened so neatly, but hearing it directly from Méliès makes it a little more plausible. If it wasn’t true, it should have been.
The film includes as talking heads several filmmakers who admire Méliès’ work: Costa-Gavras, Jean-Pierre Jeunet, Michael Gondry, Tom Hanks, and Michel Hazanavicius. There is a good summary of the fascination with the moon in popular culture of the day, including works by Jules Verne, Jacques Offenbach, and H. G. Wells.
The documentary touches on issues relevant to early silent cinema in general. One of these is the frequent pirating of films, with Méliès starting an American branch of his Star Films in New York, under the direction of his brother Gaston, to help protect his intellectual property. A clip from the Segundo de Chomon version of the film, An Excursion to the Moon, is included.
At about 23 minutes in, a short overview of early movie music is given, followed by a helpful explanation of how the hand-coloring of Méliès’ films was handled by a local workshop run by women. At 30 minutes in there are several dazzling examples of hand-colored scenes (right).
After a quick summary of Méliès’ decline and death, the film moves to the restoration of the only known hand-colored copy of A Trip to the Moon, found in the film archive in Barcelona. Here the hero is Tom Burton, the Director of Technicolor Creative Services, who gives a brief indication of how computers have transformed restoration:
We have a palette of digital tools to work from that are a collection of maybe five or six of the main commercially available restoration platforms, but then we also bring into the mix all of the approaches that you would use if you were doing visual effects for a modern movie.
The comparison of visual effects with restoration is in some ways an apt one and might lead students to look upon early films in a new light.
The Girl with the Dragon Tattoo (Blu-ray/DVD/Ultraviolet set, Sony Pictures Home Entertainment)
It’s probably a good idea to supply both Blu-ray and DVD discs in one package, but including the supplements only in Blu-ray is annoying and increasingly common. That’s the way the Girl with the Dragon Tattoo discs have been handled. Teachers without access to a Blu-ray player have fewer options when trying to use supplements in teaching. It also makes it much more difficult to make frame grabs from the supplements to, say, illustrate a blog entry on useful supplements.
I decided to check out the supplements for this film because the ones for Zodiac and The Social Network were so good. I figured David Fincher was particularly concerned about his films’ bonus materials. Unfortunately this set of supplements is quite uneven. The cast and crew seem to be obsessed with the character of the heroine and with the delights of shooting in Sweden. I confess that I stopped watching some of the chapters as the talking heads went on and on about these subjects. Some of the tracks also consisted of a lot of candid behind-the-scenes footage, which is all very well, but there was little structure to this and only occasional comments to explain what was going on.
Fortunately the “Post-Production” section is very informative and interesting. “In the Cutting Room” is fairly technical but makes some fascinating points. I particularly liked the description of how Fincher eliminates reframings and unsteady shots by using the extra image space allowed by newer capture media. (Earlier digital film frames allowed no extra image area outside what would show up on the screen; as the image below indicates, the final frame can be selected from a larger picture.) This desire for a stable image in an era where the “queasi-cam” so often rules points to one distinctive trait in Fincher’s style. It indicates a willingness to actually think through the framing of each individual shot and the purpose for choosing that framing. Steven Spielberg does the same thing. Many don’t.
Editor Angus Wall talks about this advantage of the extra size of the image and how Fincher uses it to stabilize unsteady images. It’s worth quoting at length, and it demonstrates the thoughtful commentary in this particular supplement:
I’ve never seen a movie that was sort of “re-operated” to the extent that this one was. Which I think has an effect on the viewing of the movie. David is really type-A in terms of making the shots very specific. They start in a certain way, they end in a certain way. And the framing, he’s very precise in terms of his composition. He doesn’t like a lot of what you see in 99% of movies, which is very subtle moves where the operator will actually reframe according to how the actor’s moving. David doesn’t like that. Even if there were a lot of those in this film, and before, some of those takes we would have thrown out, because we just wouldn’t have been able to stabilize them to the degree that he likes it. With this, because you have this full raster, this big area around the image, you can take those images and stabilize them, really lock them down. So the movie is really locked down in terms of camera operating. More than any other movie that I can think of.
The smooth glide as the car initially approaches the country house is one example of that utter stability, used to ominous effect in that particular scene.
There’s also some interesting discussion about how the two main characters don’t meet each other until well into the film and how that affected decisions about editing. Rather than frequently intercutting between Mikael Blomkvist and Lisbeth Salander, the filmmakers decided to create longer self-contained scenes involving each, thus switching back and forth less frequently. The idea was that the exposition set forth in each scene would be too difficult to absorb if it was chopped into smaller segments. Form, style, and function, neatly explained.
Fincher also points to an interesting underlying anxiety the spectator might feel because the narrative progress gives little sense of how much action is still to come:
You don’t know where you are in the narrative. You don’t know if you’re at the beginning of the third act or … I don’t think it’s bad, because we have a five-act movie. I think that’s what’s causing everybody’s anxieties, that it doesn’t feel like, OK, here’s where we are, we’re entering the third act now. Now it feels like, fuck, this movie could go on … indefinitely. That’s the part that’s bothering me. If we told them it was going on for another forty-five minutes, they wouldn’t have a problem. It’s the indefinite part.
Since I’ve written a book claiming that classical films usually don’t have three acts, I was intrigued by this statement. (See also my earlier blog entry here and David’s essay here.) I posit instead that classical films typically create acts that run about 25 to 30 minutes, and that the film’s length determines how many acts it has. Four acts is the most common throughout Hollywood’s history, but a 158-minute film would be likely to have five acts. (Has David Fincher read my book?!) His point about the audience feeling a bit lost in an unconventional narrative structure is a rare instance of a director talking about form in such an abstract way, and it seems quite valid for The Girl with the Dragon Tattoo.
It’s also rare to get a supplement on ADR (automated [or additional] dialogue replacement), but there’s a six-minute one in the “Post-Production” section. This consists of a behind-the-scenes session with Rooney Mara supplying not just dialogue but breathing, grunts, and other noises. It’s clearly a real session, not a staged one, though the actress does seem a bit self-conscious with the documentarian’s camera turned on her. Fincher’s and Mara’s banter between takes gives a sense of what I suspect really goes on during this phase of production.
There’s a brief supplement called “Main Titles,” which deals with the form and inspiration for the CGI under the titles. Fincher wanted to tell the story of the whole trilogy in two and a half minutes, “and it has to be spectacular.” Apart from the discussion of form, there’s a good look at unrendered CGI footage compared to the finished images.
Finally, an eight-minute “Visual Effects Montage” displays a variety of special effects in a clever way. There is a section at the beginning where we are shown the image without added effects, then the same image with the areas to be altered highlighted in various superimposed colors, and finally the finished images with the effects added. This is particularly good for showing the sorts of mundane effects that are used to enhance shots unnoticeably, adding cars’ headlight beams, reflections in glass, falling snow, and the like. There is a shot with a section of a building on location blotted out with a greenscreen and the final shot showing the use of alterations in the building:
Obviously here the fog was also added with CGI.
This montage goes very quickly. If you’re using it in a class, best to prepare ahead and be ready to pause and point out what’s going on in the many short shots used in the demonstrations.
The second half of the effects montage moves to splashier scenes of the type the public associates with “special effects”: wire-frame vehicles for a chase (see image at the top of this section), head-replacement to add Mara’s head to her stunt-double’s body, and explosions.
Don’t bother with the “Stockholm Syndrome” section. Basically all we learn is that when a scene is shot on location, sheep can unexpectedly wander in and interfere.
The Adventures of Tintin (Blu-ray/DVD/Digital Copy combo, Paramount Pictures)
Again, the supplements for this release are available only in Blu-ray.
Steven Spielberg and Peter Jackson decided some years ago to collaborate on what was announced to be a three-film series adapted from Hergé’s Tintin comic books. The notion was that each of them would direct one film, with an as-yet-unspecified director doing the third. Spielberg’s initiatory film did not do as well at the domestic box-office as had been hoped, though it fared better in Europe and other non-North American markets, where the comics are highly popular. Jackson has announced that after he finishes both parts of The Hobbit, he will launch into the next Tintin film. (At least, that’s what he said originally. After yesterday’s announcement that there will be three Hobbit films, his start on the Tintin film will presumably be delayed.)
The supplements form a narrative of the film’s making, bookended by “Toasting Tintin” and “Toasting Tintin Part 2,” brief episodes set at the launch and wrap parties. The tale is pleasant and generally worth watching, though they are far from as entertaining and informative as the supplements that Michael Pellerin produced and directed for Jackson’s The Lord of the Rings and King Kong DVD sets. But this is Spielberg’s show, since he did the first film and indeed originated the project. At first he envisioned the film as live-action, with the dog Snowy the only major CGI character. Spielberg asked Jackson’s effects house Weta Digital to do some tests animating Snowy. To his (apparent) surprise, Jackson himself, as a fan of the comics since childhood, played Captain Haddock in the test. That fact was well known to fans, and the inclusion of the test footage (above) is no doubt a crowd-pleaser.
The decision to use cutting-edge performance-capture techniques led to the film being entirely animated.
“The World of Tintin” gives background on Hergé and deals briefly with the screenwriting process. This leads into “The Who’s Who of Tintin,” dealing with characters and acting, with some good material on performance capture near the end. The next section, “Tintin: Conceptual Design” has good material on the visual style of the characters and near the end includes some pre-viz material.
The outstanding supplement, however, is “Tintin: In the Volume,” nearly 18 minutes of footage concerning performance capture. Spielberg’s role as director was primarily concentrated into a remarkably short 31-day shoot with the actors. This was done in a state-of-the-art performance-capture facility called “The Volume” and located at Giant Studios. The Volume is a large space with about 160 cameras built into the ceiling and pointing down into the performance space. These capture the space from multiple angles. Additional cameras on the stage level follow the actors’ movements, which are inserted into the space. Moreover, hand-held monitors similar to portable gaming devices allow the filmmakers to see simple versions of the settings and the partially rendered characters while pointing the device at the actors in their performance-capture rigs.
There are also larger monitors that show the actors their own performances translated into the characters (top of entry). Whatever one thinks of the look of contemporary animation of this type, the technology has evolved to a remarkable level, and this supplement provides an excellent explanation of the practicalities of performance capture. We see the motion-capture suits being put on and the dots painted onto the actors’ skin. There is also information on how the set elements and props need to be transparent so that the cameras can capture the dots on the actors’ faces and costumes through them. The image at the bottom shows Jamie Bell as Tintin looking at a mock-up of the model ship. It’s made of little metal rods and rendered into a ship on the monitors.
“Snowy: From Beginning to End” is less cutesy than it sounds. It discussed the digital tool developed for modeling the dog’s fur. There’s also good stuff on how several dogs were recorded to provide different-sounding barks depending on the type of action in a scene.
The biggest tasks on the film came after the performance capture and editing. Weta Digital spent two years creating the final images. “Animating Tintin” is an excellent eleven-minute account of that process.
The sections “Tintin: The Score” and “Collecting Tintin” (on Weta Workshop’s designs for the collectible figures) are rather thin and could be skipped unless a teacher wants to show the whole set of supplements as a single “making-of” documentary.
It’s become apparent that many of the best supplements on Blu-ray and/or DVD releases are devoted to special effects, especially performance capture. The Adventures of Tintin does genuinely involve innovations in this technology, and the “In the Volume” chapter is very informative. Supplements are getting repetitive, though, and I would like to see the producers of such documentaries pay more attention to techniques and choices in other areas. Comparing final cuts of scenes with earlier cuts, or showing story conferences where real debates about scripts occur (as was done in the first Pirates of the Caribbean film’s supplements), or displaying how decisions about digital-intermediate grading are made–a bit of imagination could spice up the offerings. That and a realization that film fans are interested in just about any aspect of production (or distribution, for that matter). Supplements risk falling into conventional patterns, and that won’t make them the appealing bonus material that they used to be.
While I was gearing up to write this entry, we received Mark Parker and Deborah Parker’s book, The DVD and the Study of Film: The Attainable Text (Palgrave, 2011). Based on a great deal of research, including many interviews, the authors include a summary history of DVDs and supplements; there is a detailed chapter on The Criterion Collection, interviews with directors and scholars who have recorded commentary tracks, and a case study of Atom Egoyan.
Harry Potter and the Deathly Hallows Part 1
Last wee I went to see Harry Potter and the Deathly Hallows Part 1. Behind the pack, of course, since it had been out nearly a month. But I dislike watching films in a crowd. My ideal is to be alone in the theater, which David and I managed last week with Megamind. In this case I picked the first matinee on a school day and saw the film at our local Sundance multiplex. (Yes, even Sundance runs some popular films to help support the less successful art films.) I figured that noisy youngsters, even if they skipped school to see DH1, wouldn’t go to Sundance. I was right. Four or five adults were sitting about ten rows behind me. I never heard a peep or crackling candy wrapper out of them. The film was really film, too, 35mm.
I had been curious about how the filmmakers would deal with some of the stranger aspects of J. K. Rowling’s seventh and final book. Breaking it into two parts seemed an obvious and smart move, and it does have less of a rushed feeling than the previous adaptations had. But Deathly Hallows the book has some very unconventional aspects.
For a start, Rowling reveals dark, indeed downright nasty things alleged about Albus Dumbledore, who up to this point has been your standard-issue comic-but-wise, twinkly-eyed mentor figure. I wondered if the film would dare to do the same. It does, but so far only as a very minor side issue. In the first part, at least, Harry is obviously distinctly miffed that Dumbledore hasn’t left him more information about how to deal with horcruxes, but he doesn’t seem to feel that his hero had feet of clay.
Second, it seems downright perverse on Rowling’s part that in a long series which has come to focus on the search for horcruxes and should just be working up its climax, she throws another set of mysterious, lost objects, the three Deathly Hallows, at us. Let’s see, six horcruxes, three hallows. What’s the difference? Which should the characters be seeking, and why? Is Voldemort after them, too? In the book, Harry becomes obsessed with finding the hallows, even though the horcruxes are the main point. That last premise, Harry’s obsession, hasn’t shown up in the film, so far anyway, but otherwise the hallows are fully treated in the film.
Finally, Rowling gives us a very long portion of the book where Harry, Hermione, and, for a time, Ron, are fugitives moving from place to place, camping out each night as they try to figure out where the remaining horcruxes are—and not having much luck either with that or with destroying the one they have obtained. I personally think this is a rather daring move. Given that for this long section we are confined entirely to Harry’s point of view, we get little sense of what is happening in the outer world. Naturally the film can’t spend quite as much of its length on this period of nomadic existence. Still, it does devote an unexpectedly long time to portraying it.
Some critics have complained that the action stalls during this portion. Others have noted that the slow-down allows for us at last to linger over the psychological states of the three main characters, who are being worn down by fear, frustration, and the horcrux’s presence. This stretch also displays some beautifully bleak locations, well filmed. Plus, as Rowling no doubt intended, this part of the narrative conveys a real sense of the characters’ seemingly hopeless position: They are in great danger and without any apparent clue as to where to look next.
One minor obstacle that I remember noting when I first read the book is that the hallows are introduced by having Hermione read aloud a fairy tale from the book Dumbledore has bequeathed to her, The Tales of Beedle the Bard. The tale, “The Tale of the Three Brothers,” occupies only about two pages, but having someone read that much text aloud in a film can be deadly.
The filmmakers came up with a solution that is both inspired and extremely well executed. As Hermione reads, we see a roughly three-minute animated sequence that illustrates her words. The filmmakers have acknowledged that their model was Lotte Reiniger’s technique of silhouette animation, which she developed in the 1920s and used for such classics as The Adventures of Prince Achmed (1926). For DH1, similar silhouette effects are achieved with 3D digital animation.
I wondered who had designed and animated this little sequence and determined to watch for references to it in the credits. As is typical with effects-heavy films these days, several companies were listed and the credits rolled by too quickly for me to catch much. Still, I don’t think that the little film-within-a-film was mentioned specifically or its creator named as having been attached to it. Even Variety‘s review, which refers in passing to the sequence, doesn’t mention its maker.
A lot of other viewers were impressed enough to try and find out who was responsible. DH1 was released in the US on November 19, and by the next day, Cartoon Brew posted a story on the subject: “A number of readers have written to ask who animated the shadow puppet-inspired ‘Tale of the Three Brothers’ sequence in the new Harry Potter film Harry Potter and the Deathly Hallows. It was directed and designed by Ben Hibon who produced it in association with Framestore.” Surprisingly, it also turns out that the section of Framestore that normally makes commercials did the “Three Brothers” scene.
I spent some time tracking Hibon down, finding some good-quality frames to display here, and locating clips. There are a few interviews with Hibon, plenty of clips and entire shorts, and filmographies. The video quality of some of these clips is dreadful, though, and a lot of the stories one finds via Google are short, repetitive pieces.
Most of this material is not all that easy to find, so herewith a guide to where you can most usefully find information on someone who seems to be an up-and-coming talent.
Hibon has designed video games, made music videos and commercials, done a short “screen” for MTV, and directed a few shorts and a trailer for a feature, A.D., which seems still to be in progress. The fullest filmography is the official one on the website for Hibon’s own company, Stateless Films.
Animation and effects expert Bill Desowitz has interviewed Hibon for Animation World Network. That’s recent, December 3, and deals exclusively with the DH1 scene. On November 23, fxguide posted an interview with Dale Newton, the sequence supervisor for the piece. An older, undated interview with Hibon on It’s Art Magazine concerns the series of five two-minute shorts collectively known as “Heavenly Sword.” These relate to a video game of the same name that Hibon designed. This series is visually quite distinctive, but it’s a far more conventional work than the “Three Brothers” short, being heavily influenced by anime.
Also on November 23, indiewire posted a short background article on Hibon, with several videos. With one exception, which I’ll get to shortly, don’t watch these films here or on YouTube. Why? Because the Stateless Films site has most of them and more. Hibon’s clips are larger and better quality than anything else I checked, plus they’re displayed with a black screen and far fewer distracting graphics than on YouTube. Click on the Archives link to see older works, including samples of Hibon’s work on videogames.
His site is the only place where I found a full version of his ad for the French bank, Crédit Agricole. The point of the ad is that this is the first green bank. It’s a gorgeous piece, full of images of pollution and decay gradually giving way to scenes of places restored to their pristine state and new, clean technology in place. Here are some images, from a vertical descent downward through a series of jet-trails (at bottom), a shot in which a wall of identical canned goods suddenly flies away to reveal a street market with fresh produce on sale, and windmills replacing old factory chimneys that fly apart:
There’s a dream-like quality to the whole thing, with a lot of shots, many with rapid movement, juxtaposed with slow, stately music.
The indiewire clips linked above include two shortened, English-language versions of this ad, with Sean Connery appearing to make the message explicit. There are also some Crédit Agricole ads made by more conventional filmmakers. Watch one or two of those, and you’ll find the contrast dramatic.
None of these sites and others with Hibon clips or shorts has the “Three Brothers” sequence, not surprisingly. That is, YouTube has some horrendous, out-of-focus subtitled auditorium videos, made in perhaps a South American or Spanish theater. Avoid like the plague.
Framestore’s site has some information on Hibon’s sequence, and the only clip from it that I could find. It’s very small and too dark to render the subtleties of the visuals, but there it is. Framestore also animated the two house-elves, Dobby and Kreatur, and there’s some information on that part of the project as well.
The January, 2011 issue of Cinefex has a story on DH1 that will undoubtedly include a section on the “Three Brothers” animation, but I haven’t seen that yet.
One reason that there are so many short pieces on Hibon on the internet is that at almost exactly the same time, on November 22, Variety announced that the filmmaker had been signed to direct a long-dormant New Line project, Pan. It’s a variation on the Peter Pan story, with the roles of villain and hero being switched; here Captain Hook is a detective on the trail of a certain child-kidnapper. The studio acquired the project in 1996, and for a while it looked as though Guillermo del Toro would direct. This time the film might get made, since the Variety story reports that it’s being cast and should start shooting next fall.
Darby O’Gill and the Little People (1959)
Every now and then I discuss a few DVD supplements that teachers might find useful for their classes, though they might be of interest to others as well. Previous installments can be read here and here.
Darby O’Gill and the Little People (Walt Disney Video)
Yes, you read that right. I can’t claim credit for having discovered this disc’s excellent supplement, “Little People, Big Effects.” Shortly after the second “Beyond praise” entry, Dan Reynolds, who teaches at the University of California Santa Barbara, wrote to recommend it.
Darby O’Gill was one of the few Disney live-action films I missed when I was growing up in the 1950s. I acquired the disc and started by watching the feature. I must say that this is one weird movie.
The “little people” of the title are leprechauns, and the special effects used to make them look small are mostly achieved through forced- perspective techniques. In less than eleven minutes, this supplement demonstrates the use of glass paintings, mattes, false perspective, and even a revived Schüfftan process, most famously used for Metropolis, where scale is manipulated by shooting into an angled, partially transparent mirror. Careful calculations allow for over-sized sets in the background to be lined up precisely with normal-scale ones in the foreground, so that the foreground person looks much larger then the background one. Since the two characters, here Darby and King Brian, are supposed to be conversing face-to-face, a manipulation of eyelines, a term we use a lot in Film Art, is necessary. (Despite what my spell-check keeps trying to tell me, “eyeline” is one word in the movie business, as demonstrated above.) In explaining how the actors knew where to look in the shot illustrated at the top, the film shows that “station points” were placed on the floor so that the characters’ eyelines would seem to match up (below). These days actors alone against blue or green screens often have to look at tennis balls to make the direction of their gaze match correctly.)
Clearly some behind-the-scenes footage was made during the production of Darby O’Gill, and this is incorporated into a documentary that includes interviews with master effects expert Peter Ellenshaw, who died in 2007. Ellenshaw worked as a matte painter on half the British classics of the 1930s and 1940s, including Black Narcissus (which has perhaps the greatest matte paintings ever). He then moved to Hollywood in 1950 and began a string of films with Disney that won him an Oscar for Mary Poppins. It’s good to have even these short clips of him demonstrating and discussing his work.
“Little People, Big Effects” should give students (and just about anyone else) a better grasp of perspective and its importance in the representation of depth on a flat screen. I would definitely show it as part of a study of cinematography. If a fifty-year-old film seems a bit out of date, point out to students that, as the narrator mentions, exactly the same techniques were used in many scenes of The Lord of the Rings to make the hobbits and dwarves look small. Similar demonstrations are provided in the supplements to the extended DVD version of The Fellowship of the Ring (Disc 1, “Visual Effects: Scale”).
Elijah Wood sits further from the camera than Ian McKellen in order to make him appear as small as a hobbit
Zodiac (“2-Disc Director’s Cut,” Paramount)
At the end of my first “Beyond praise” entry, I complained about the lack of supplements on the initial DVD release of Zodiac. Then, after the two-disc set with the supplements appeared in early 2008, I forgot to include it in the second entry. Better late than never, so I’m tackling it here. (The supplements are apparently the same for the Blu-ray set.)
As the “DVD Talk” review says. “The self-congratulatory praise is kept to a minimum.”
The main supplement is a 53-minute film called “Deciphering Zodiac.” It’s a good, objective, chronological summary of the film’s production. A lot of talking heads are included, such as the producer, scriptwriter, set decorator. That’s usually a good sign, since it shows that care was taken with the making-of and that enough of the crew members are participating that the account will probably be rounded. There’s a 15-minute making-of specifically on “The Visual Effects of Zodiac.”
Zodiac was primarily shot on professional-level digital cameras, apart from the slow-motion shots, which still need to be done on 35mm due to limitations of the digital technology. Hence there’s a lot of information here on digital techniques. Most of these techniques are used in ways that aren’t necessarily obvious to the viewer. If you want to show students some material on digital effects, this might be a good choice, since it avoids the flashy, obvious effects that so many fantasy and sci-fi DVD supplements concentrate on.
“Deciphering Zodiac” has shots showing the digital camera attached to an elaborate rig around a car, which was used to follow moving cars, including the famous opening tracking shot along a suburban street. The video-assist monitor is often visible in the shots.
One change that digital filming has made in production has been the frequent use of “digital dailies” rather than dailies on film. (Dailies are the unedited takes just as they come from the camera(s); directors and other key creative people typically watch them at the end of each day.) Several scenes of the “Deciphering” documentary show raw shots and are labeled as digital dailies, something which doesn’t seem to be a common feature of supplements. It’s pretty obvious that the shot of Jake Gyllenhaal below would need to be manipulated in post-production. There’s also informative coverage of the methods used to match location and studio-shot footage, particularly for the scene where the killer shoots a taxi driver.
The visual effects documentary has good explanations of the early shot of a rapid move across the bay toward San Francisco as it looked in the period when the film’s action begins, a shot that was done entirely digitally.
Now that so many best-lists for the decade have included Zodiac, it seems to be an official modern classic. Perhaps a somewhat more dignified way of teaching special effects than using a Transformers movie.
The Dark Knight (Two-Disc Special Edition, Warner Home Video)
The supplements for The Dark Knight make a nice contrast with those for Zodiac. Here the makers of a spectacular action movie avoided digital special effects to a surprising extent. Instead they used practical effects, that is, effects accomplished via physical means while shooting rather than those done in post-production via laboratory or digital manipulation. Digital technology was used, of course, but often for rather modest tasks in planning and in erasure of unwanted elements. It’s also interesting as the first 35mm fiction feature to be shot partially on Imax cameras.
The main supplement is “Gotham Uncovered.” It begins by showing how the Imax camera was initially tested on a single action scene shot on location in Chicago. The results led to additional Imax scenes being added to the film. The advantages of Imax—primarily a huge gain in visual quality due to the larger size of the individual frames—are shown to be balanced against the camera’s limitations. The camera is much larger, making handheld shots difficult. It holds only three minutes of film and has a shallower depth of field. While interesting, this first section is surprisingly lacking in actual footage of the filming, often depending on still photos. We tend to assume that in this day and age, the making-of is taken into account from early on in a production. It’s surprising how often that turns out not to be the case.
A five-minute segment, “The Sound of Anarchy,” shows Hans Zimmer sitting at a computer and talking about the modernist, dissonant music for the Joker character. It’s mildly informative.
“The Chase” is perhaps the most useful section of the making-of. The decision was made to shoot the scene on Lower Wacker in Chicago. Here digital effects were kept to a minimum, with multiple cameras mounted on vehicles like the motorcycle below. These were special smaller Imax cameras. Only four such cameras existed at the time, though an accident reduced that to three!
One big moment in the chase has the Batmobile crashing into a garbage truck. Again, rather than resorting to digital effects, the crew built miniatures of the two vehicles and the set. The decision was also made to shoot a crash of an 18-wheeler on LaSalle Street using a real truck on location, and the scenes showing the practice sessions for this reveal the kind of planning that goes into the big action scenes that are so common in films these days.
A multi-vehicle crash scene was done with several cameras, which is common practice for unrepeatable actions. (Even on a big-budget film like this, no one would want to crash more than one Lamborghini.) The cameras often show up in each other’s shots, and the supplement shows the resulting footage and how CGI is later used to erase them—again, a very common use of digital tools. Here a camera on a crane is visible at the center left in the original footage of the crash:
In one scene, the Joker walks out of a hospital, which explodes behind him. A prime candidate for digital effects, one would think. Instead, the filmmakers opted to have a demolition company destroy a real building. CGI was used to plan the scene:
A shorter supplement, “The Evolution of the Knight,” deals mostly with the design process for Batman’s suit and the Batpod. Again the emphasis is on bringing reality into the filming. It’s pointed out that while much of Batman Returns was shot on sound stages, the team decided to try and shoot the sequel in the city streets as much as possible.
Beware of these
I have to admit, one reason that this series appears so rarely is that for every DVD with useful supplements that I find, there are two or three uninformative ones that I have to sit through–or at least sample. In addition to recommendations, let me warn you away from some of the ones I switched off.
I had expected the Slumdog Millionaire DVD extras to be interesting, given the mixture of digital and 35mm shooting, the location work, and so on. But obviously the filmmakers had no idea that the film would be a success, so they seem to have done little behind-the-scenes shooting as they made it. The result is a not terribly informative, bare-bones 18-minute making-of.
Supplements as praise-fests have not gone away. Musicals seem especially to bring them out. “Get Aboard! The Band Wagon” provides 36 minutes of mutual admiration. In “From Stage to Screen: The History of Chicago,” Chita Rivera unintentionally achieves a parody of the gushing movie star who lauds everyone she worked with.
David and I just watched Cloudy with a Chance of Meatballs. I had liked it when I saw it in first run, and predictably, David enjoyed it, too. It’s a clever, well-scripted, well-animated film. We hoped to learn something from its supplements, but the making-of seems to be aimed at children, and young ones at that. The co-directors and some of the other filmmakers look distinctly embarrassed to be participating, partly because a lame comparison of making a film to mashing food together forms a running motif. A pity, since the movie deserves better. As reviewers keep pointing out, the best animated films these days are made for adults as much as for children.
Six years ago, when The Lord of the Rings: The Return of the King was nominated for eleven Oscars, there was considerable grumbling over the fact that Andy Serkis was absent from the acting categories. Many argued that his pivotal role in creating Gollum, the first convincing human-like computer-generated character, should have qualified him for a nomination.
Now we’re seeing a similar debate over the lack of actor nominations for Avatar, with Zoe Saldana’s performance as Neytiri especially mentioned as unfairly overlooked. An intriguing article on the subject appeared in the Los Angeles Times a few days ago. In it, James Cameron expresses annoyance with both the Screen Actors Guild and the Academy for the lack of nominations for his actors:
I’m not interested in being an animator. . . . That’s what Pixar does. What I do is talk to actors. ‘Here’s a scene. Let’s see what you can come up with,’ and when I walk away at the end of the day, it’s done in my mind. In the actor’s mind, it’s done. There may be a whole team of animators to make sure what we’ve done is preserved, but that’s their problem. Their job is to use the actor’s performance as an absolute template without variance for what comes out the other end.
Because of innovations in the motion-capture process, including a tiny camera hung in front of an actor’s face to capture its every nuance, Cameron insists on calling the new technology “performance capture.” In some sense it may be true that the performance is preserved, but once the film runs through the theater projector, can the audience really tell what that “template” was like? I think not, and that’s why there is a reluctance to nominate these actors.
Where is the elusive boundary?
Don’t get me wrong. I’m not saying that Zoe Saldana and Andy Serkis aren’t fine performers or that their acting did not contribute enormously to the characters they played. Indeed, Serkis’ mo-cap contribution to the creation of Gollum was originally intended to be far more limited than it turned out to be. His facial expressions and gestures were so useful to the special-effects people that he was involved for a much longer period, and techniques to allow him to perform onset with the other actors were developed.
But however fine the original acting and however great the aid it provides to the special-effects team are, the process doesn’t stop there. To a notable degree other factors intervene between the actors’ original performances and the characters’ final appearance on the screen. Let’s do some comparisons, using the publicity images that the studios themselves considered good indications of how close the expressions of original actors were to those of their characters.
Take the widely circulated image of Saldana juxtaposed with Neytiri shown above. There are numerous differences. For a start, the filmmakers obviously needed to make the Na’vi look like an alien species. They didn’t just give them tails and make them blue and really tall. Human as the creatures seem in many ways, their faces have a subtle suggestion of large felines.
The effectiveness of Neytiri’s snarl has a lot to do with the fact that she has been given exaggeratedly long canine teeth. Moreover, given the changes in the shape of the face, the mouth is not as large proportionately to the entire head as Saldana’s is; the tongue is not nearly as prominent or noticeable. Both tongue and lips are blue as well. All of these features allow the teeth stand out more by contrast.
Na’vi ears are pointed, and some of the lobes are apparently pierced with a small dark disk in the hole. Saldana’s ears played no role in her performance, but the laid-back ears in the Neytiri image, mimicking those of an enraged animal, contribute considerably to the shot’s impact. I remember noticing them while watching the film.
The nose and the wrinkles on and above it have been considerably changed. Unlike human noses, those of the Na’vi are smaller at the bottom than at the top, somewhat resembling lions’ noses. The wrinkles seem to be derived from canine or feline faces as well, extending from the inner end of the eye and arcing down toward the tip of the nose. The human frown lines at the lower center of Saldana’s forehead are transformed into larger, longer, curved wrinkles at either side; these start between the eyebrows and move up and to the sides. There they get extended by the curved areas of darker blue that radiate across the upper forehead, so that the lines of anger seem to cover more of the face. I suspect that relatively little of what the actors did with their noses has survived the special-effects processing. (In the image below, even the shape of Saldana’s naso-labial folds has been slightly altered.)
The change in the eyes is particularly important. Saldana’s eyes have dark irises within which the pupil is barely, if at all, visible. Na’vi eyes are much larger, to begin with, and the irises are light in color, a sort of yellowish tan. The irises fill more of the visible part of the eye, so that the whites of Na’vi eyes are minimized. As a result, the black pupil stands out dramatically. In terms of color, the model seems to be cats’ eyes, though the pupils remain round rather than slits, to avoid making the Na’vi too alien looking. Since the nose has been widened at the top, the eyes are also further apart than on human faces. (The norm with humans is for the eyes to be separated by a distance roughly equal to the width of one eye.)
Even in a less dramatic scene, when Neytiri is relaxed and smiling, some of these differences remain. The pointed ear is not laid back, but it sticks out from the side of the head at an angle that draws the spectator’s attention and makes the human-shaped face seem exotic–especially given that the Na’vis’ ears are placed higher on the skull than human ears are: while the human ear canal is about even with the cheekbone, in the Na’vi it opens at mid-temple level. Although the points of the canine teeth are not visible in this image, the teeth remain prominent because of their bright whiteness against the blue skin. Though partially masked by the headgear, the vaguely feline nose still differs considerably from Saldana’s. In keeping with the extraordinary height of these beings, Saldana’s neck has also been lengthened.
Again, I’m not saying that Saldana and the other actors in Avatar did not contribute enormously to the believability of their characters or that they did not aid us to empathize with them. On the contrary, although the big blue creatures did seem very odd in the trailers and posters, I have to admit that they quickly came to seem like real characters. Their design’s balance of human and alien is remarkable. I did not continually think of them as walking combinations of numerous elaborate special effects. The new facial-capture system renders expressions very well, as the frame at the bottom shows.
What I’ve pointed out here with relation to Saldana’s contributions to the creation of Neytiri applies as well to Serkis’ earlier contributions to Gollum. In the comparison images below, similar changes were made.
While Serkis’ ears were covered, Gollum’s are pointed and prominent. Here, too, the eyes have been enlarged and made a light blue so that the pupils stand out. Where the actor’s teeth are straight and even, Gollum’s are pointed, crooked, and separated by gaps. The cheeks have been hollowed and the eyebrows arched nearly to a point near their outer ends. Crucially, the body has been made inhumanly skinny, with long bony legs and arms that are not apparent in this image. I suspect that some naive audience members believed that a real actor had played Gollum, but to most the scrawny figure was a guarantee that no human could have performed the role. (The very thin waists of the extraterrestrials in District 9 served as a similar guarantee that these were not just guys in monster suits à la Invaders from Mars.)
With all the kinds of changes that I’ve pointed out, how would Academy members be supposed to judge these performances were they to be nominated in the traditional acting categories? Where is the boundary between acting and special effects? Despite actors’ and directors’ claims to the contrary, the movements and expressions caught by performance capture are changed in many obvious and not so obvious ways. A close inspection of the comparison photos reveals the details of the transformation, but in watching the film, the viewer cannot necessarily gauge what sorts of changes were made. I can well imagine that actors like Meryl Streep or Jeff Bridges would be justified if they objected to competing in the same Oscar category as what are essentially hybrid performances seamlessly combining the original acting and the digital transformation.
Possible new categories
One way I can imagine actors competing for awards would be for the Academy to create a separate category for motion-capture performances. To judge such performances fairly, the members would have to see videos running the original performance side-by-side with the finished film. This method might allow them to make a reasonable assessment of what the actor truly contributed.
At this stage in the history of film technology, such a category seems unlikely. So far, not that many people have been spoken of as deserving an Oscar nomination for a mo-cap performance. Even Bill Nighy, who was widely praised for his turn as Davy Jones in the second Pirates of the Caribbean film, was not touted as a possible nominee—probably because his face was so thickly covered with tentacles and partly because comic fantasy films tend not to be Oscar bait. So far the argument has primarily been made for Serkis and Saldana. Plus if the Academy did take the approach of requiring the sort of comparison film I’ve suggested, it would be a difficult and expensive thing to produce. Who knows whether Academy voters would watch five such films?
Maybe, though, as performance capture becomes less expensive and more widely used, there will be enough actors to make up a separate category. We’ve seen the animated-feature category grow from three to five nominees this year, and the number of such films being made suggests that five will become the norm. Animated films and live-action ones heavily dependent on motion-capture are somewhat similar technically, so a new category makes some sense.
A simpler and more logical alternative might be to create a category specifically for vocal performances. As has been pointed out in relation to animated films, an actor who is heard but never seen onscreen could in principle be nominated. Such a thing has never happened, but it’s not against the rules. (It’s easy to imagine that it could have happened for a performance like Celeste Holm’s unseen narrating character in Letter to Three Wives.) But with animated-feature and motion-captured performances becoming more common, a best-vocals category seems to make sense. After all, Serkis and Saldana and others like them do speak their characters’ lines, and their voices are typically not altered or enhanced very much. The digital manipulation of sound still lags considerably behind that of images.
The idea is not exactly a new one. The Annies, the awards given out each year by the International Animated Film Society, has two “Vocal Acting” categories, one each for film and television.
Very similar motion-capture technology can be used to create films that most people would agree are animated (The Polar Express, A Christmas Carol) and others that embed animated characters in a live-action setting (The Lord of the Rings, Avatar). Creating an Oscar category for vocal acting in animation or motion-captured, effects-based performances would make sense.
If actors are not yet being recognized for motion-captured performances, the Academy has been quick to honor the top scientific and technological innovators of the area of motion capture. In 2004, when The Return of the King won its golden statuettes, the less celebrated Academy technical awards included one to the Weta Digital team for its new approach to the creation of Gollum. (The award was shared with ILM for its similar use of the technique in creating Jar Jar Binks.) This year, on February 20, the Academy honored a team that included one Weta Digital member for “the design and engineering of the Light Stage capture devices and the image-based facial rendering system developed for character relighting in motion pictures” which was used on Avatar and The Curious Case of Benjamin Button.
Despite fears that motion-capture may someday make directly photographed actors obsolete, there seems little chance of that happening. These techniques are fantastically expensive and are likely to remain that way for some time to come. There seems little point to using such elaborate technology to make an actor look like a real person when traditional cameras can do it so much more easily, so motion-capture performances seem suitable primarily for fantasy beings who cannot be as believably created in any other way.
Thanks to Cathy Root for calling my attention to the Los Angeles Times article.
February 25: See also Mark Harris’ essay in Entertainment Weekly. He argues that the ineffable qualities of an actor’s performance simply cannot be conveyed through motion-capture.
December 14, 2011: A member of the special-effects team at Weta Digital who worked on Avatar has sent me a comment on this entry: “Your Avatar article nails it–there were so many daily discussions about secondary ear and tail animation!”
May 18, 2014: Thanks to David Cairns for alerting me to two recent items on Cartoon Brew: Amid Amidi’s “Andy Serkis Does Everything, Animators Do Nothing, Says Andy Serkis,” which comments on an interview with Serkis on io9, and Amidi’s follow-up interview with Lord of the Rings animation supervisor Randall William Cook, which quite convincingly argues that the animators changed and extended Serkis’ performance.