Oct 15

Best boiler ad ever?

Posted in: Animation

In this Motionographer Showcase, we look at Jack Cunningham’s new works with Nexus for Hometree.

No Comments
Oct 15

GSG at Adobe Max, Ideas in Motion, and Other Events

Posted in: Animation

Join Nick Campbell in person or streaming at these upcoming events in Los Angeles, Toronto, and YouTube live.

NAB and SIGGRAPH have concluded, but there are still a few more big events rounding out the end of 2018. Here’s what’s coming up on our schedules.

Adobe Max

Image via Adobe.

Adobe Max is an annual creativity conference held in Los Angeles hosted by Adobe. This year’s keynote speakers include Ron Howard and Questlove, and a performance by Beck. You can also preview upcoming new features to the Adobe CC with special host Tiffany Haddish.

In addition to the keynotes, many top creatives in the design, filmmaking, photography, and 3D space will present various sessions. Our own Nick Campbell will demo some brand new The Happy Toolbox models launching on Adobe Stock, and will show you how to use them in Adobe Dimension.

If you are at Adobe Max, you can see Nick on Tuesday October 16th at 11:30 AM PST at the Community Theater in the West Exhibit Hall. For those at home you can stream his live presentation at 4:30 PM PST here.

Adobe Stock & Dimension with Nick Campbell

Adobe Max Live Stream

Ideas in Motion

Image via FITC / IAMSTATIC.

Ideas in Motion was founded by FITC (Future. Innovation. Technology. Creativity.) to be a design and technology focused event, one of many held around the world. The ‘Worldbuilding Through Design, Motion + VFX’ Ideas in Motion will be hosted in Toronto on October 24th, 2018.

This year’s speakers include:

Building a Creative Career – Nick Campbell
  • Wednesday, October 24th
  • 1:50 PM EDT
  • Presentation Room

You can learn more about FITC’s Ideas in Motion conference here.

State of Motion Design

The State of Motion Design is a livestream host by The Futur. Join the conversation and watch as Chris Do (The Futur), Joey Korenman (School of Motion), Michael Jones (Mo-graph Mentor), and our own Nick Campbell discuss the current state of the motion design industry.

State of Motion Design 2018

The post GSG at Adobe Max, Ideas in Motion, and Other Events appeared first on Greyscalegorilla.

No Comments
Oct 15

Common Expressions in Succession

Posted in: Animation
No Comments
Oct 14

Recommended viewing from animation pros

Posted in: Animation

animation_pros_main-1280x600

For Cartoon Brew, I asked a bunch of animation pros what they would recommend to readers. The result is some pretty cool material to check out.

No Comments
Oct 11

ILM’s Hal Hickel on the symbiotic relationship between actor and animator

Posted in: Animation

Warcraft3_final

At the recent Trojan Horse was a Unicorn event in Malta, I had the opportunity to sit down with ILM animation supervisor Hal Hickel for a THU TV interview.

We talked about the wealth of CG characters Hickel has overseen which began with live action and motion captured performances, including Davy Jones from the Pirates of the Caribbean films, the Orcs in Warcraft, and Tarkin and K-2SO in Rogue One (in which the original actor playing Tarkin, Peter Cushing, had in fact passed away).

DSC_4815
Hickel (centre) gears up for the THU TV interview. Photo by John Crowcroft.

With before and after images from those films, here’s some of Hickel’s main takes on how he and his team tend to tackle a character where actor and animator need to combine to craft the final result.

DavyJones_plates
When we were gearing up to do Pirates 2, we had a bunch of problems to solve. One of them was, we knew we needed to do body motion capture on location, which is something we at ILM had not done before. We needed to do it in jungles and on ships at sea and on sets, because we didn’t want to capture Bill Nighy’s performance separately on a motion capture stage. We wanted him there with the other actors. And then we had Davy Jones’ beard, which was a massive problem. It’s probably the single most difficult thing we had to do on the show. So, we decided not to tackle facial motion capture, but we opted instead to shoot Bill on-set in a motion capture suit – what we called iMocap are is our version of on-set motion capture.
DavyJones_final
So, we’d filmed him and then the animators would just study the footage of face and keyframe animate Davey’s face. The thing is, it wasn’t just a mechanical process of saying, ‘Oh well this, you know, the mouth corner moved this much, so we’ll move our mouth corner that much.’ You really had to look at it and try and figure out what his intention was as an actor. Sometimes that’s a bit like tasting a stew and trying to figure out what they put in it. When an actor is doing something really subtle and there’s no subtext, really teasing that out and getting it right as you transform it, because that’s the other thing, is it wasn’t a one to one transfer. I mean, if Bill got angry and flared his nostrils, well, Davey doesn’t have a nose. So we had to find other ways to communicate certain things. So there was a translation that had to happen, but the intent was always to preserve exactly what Bill had done and communicate that faithfully.
Warcraft2_capture
On Warcraft, it was definitely our impression that at least some of the actors who had done shows before where they were creating characters using motion capture, that they seemed to have the impression that that was all good and everything, but ultimately later on the visual effects crew was going to just bulldoze over that with animation and obliterate it and kind of do their own thing. So we did a test pretty quickly, just a few weeks into principal photography where we took some early phase capture of Robert Kazinsky and transferred it onto Orgrim.
Warcraft2_final
Even though our Orgrim asset wasn’t quite finished yet, we got a nice looking render with some nice lighting and we took that back to set on a laptop and just went around and showed it to the actors to say, ‘Look, what you’re doing on set is gold and we are going to treat it with kid gloves because the whole idea is to get that from a to b – you will see yourselves in these characters at the end of the process. And I think it was a great comfort to them. I think they felt that was great, like, ‘It actually matters what I do on camera.’
RogueOne_Tarkin_capture
With Rogue One and Tarkin, the actor having passed away introduces a very difficult thing that I don’t think we have all the answers for in terms of our technology and our processes. Because the very hardest thing from my point of view on it was, well, we had a terrific actor – Guy Henry. But Guy doesn’t use his face the way Peter Cushing uses his face. We all use our face differently. He doesn’t smile like him. He doesn’t form the phonemes the same. So while we could get a great performance from Guy and we could apply that to Tarkin and get a realistic looking movement, it lacked Tarkin’s likeness. We had high realism, but we had problems with likeness. It looked like Peter Cushing’s cousin or something. So we’d have to then adjust the motion to the face. The animation team would have to adjust it – if he did a smile, say, to get it to look like a Tarkin smile or a Peter Cushing smile.
RogueOne_Tarkin_final
The problem was if you messed with it too much, of course it would start to feel like you’ve messed with it. It’s very easy to break capture. Even body capture people who’ve worked with it know that it’s sort of an interconnected web of motions. And if you just tweak the hips a little or move this a little, you can break stuff pretty quickly and it starts to look weird and Frankenstein’d together. So we had to find a line. We were trying to chase realism, but we’re also trying to chase likeness. And sometimes we had the sacrifice likeness a little bit to keep it feeling real and it would be a little less Cushing because we just didn’t want to push the motion around that much.
null
We didn’t do facial capture with K-2SO on Rogue One, but Alan Tudyk’s performance, his comic timing, every little choice of how he moved his head and the delivery of his lines – we never messed with his timing. We had to fit the body capture to K-2SO and his posture and everything, but, again, the whole job there was to preserve what Alan had done, not to change what he’d done, especially his timing. We never messed with his time. It was perfect comedy gold.
RogueOne_K2SO
Actors are still at the heart of the process. They’re the foundation on which we build everything else. To me that’s kind of exciting. It’s funny because when motion capture was first coming onto the scene in visual effects, there were a lot of animators who were afraid of it because it took away some of their creative authorship over the work and I think they assumed that pretty soon just everything would be done with motion capture. But in fact it’s provided us with some really creative interesting tasks to build characters where we’re partnering with an actor.
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Oct 11

The Legendary 12 Principles of Animation

Posted in: Animation

A wonderful look into Disney’s Twelve Principles of Animation, and how to apply these techniques to your motion design work.

Ollie and Frank via Neville Marriner / Daily Mail / Shutterstock.

When it comes to deep dives into what makes animation great, I am a sucker for books, video essays, and breakdowns. I’ve devoured countless hours on the history of animation, as well as VFX and filmmaking in general.

While I may enjoy a read through Ed Catmull’s Creativity, Inc. or deep studies of The VES Handbook of Visual Effects (both on the shelf next to me), I just absolutely love watching a well paced and extensive video essay. One of the best at the video essay genre is the great kaptainkristian.

Disney’s 12 Principles of Animation

Though often credited to Walt Disney himself, the 12 principles are actually the brain child of Frank Thomas and Ollie Johnston. They were two of Disney’s Nine Old Men.

In the latest video from kaptainkristian, Disney – The Magic of Animation, you’ll be guided through Frank and Ollie’s 12 principles of animation.

For a much deeper dive into Disney Animation, consider picking up a copy of Disney Animation: The Illusion of Life by Ollie Johnston and Frank Thomas.

Image via Disney / Hyperion.

If you are looking to reference the principles themselves, here’s a running list.

The 12 Principles of Animation

  1. Squash and Stretch
  2. Anticipation
  3. Staging
  4. Straight Ahead Action and Pose to Pose
  5. Follow Through and Overlapping
  6. Slow In and Slow Out (Ease In and Ease Out)
  7. Arc
  8. Secondary Action
  9. Timing
  10. Exaggeration
  11. Solid Drawing
  12. Appeal

The 12 Principles of Animation Wikipedia page is also a great resource for more information and examples.

Using these Principles in Motion Design

Now how do this animation principles apply to the work of the motion designer? Well, that’s actually a question Jorge Rolando Canedo Estrada (Jr.canest) had himself. It was the foundation of what became his Motion Design training course.

Jr.canest has built an incredible course, which he simplified down to the 10 principles of motion design. You can learn how to apply this techniques in this journey through motion design from concept to completion, using tools like Photoshop, After Effects, Illustrator, and InDesign.

See his 10 principles in action in his various projects for Google, Adobe, and WIRED. You can learn more about these principles in Jr.canest’s course Motion Design 101 available in the Greyscalegorilla store.

Want more articles like this? Check out these pieces

The post The Legendary 12 Principles of Animation appeared first on Greyscalegorilla.

No Comments
Oct 11

Missouri Lottery

Posted in: Animation
No Comments
Oct 10

ILM’s Hal Hickel on the symbiotic relationship between actor and animator

Posted in: Uncategorized

Warcraft3_final

At the recent Trojan Horse was a Unicorn event in Malta, I had the opportunity to sit down with ILM animation supervisor Hal Hickel for a THU TV interview.

We talked about the wealth of CG characters Hickel has overseen which began with live action and motion captured performances, including Davy Jones from the Pirates of the Caribbean films, the Orcs in Warcraft, and Tarkin and K-2SO in Rogue One (in which the original actor playing Tarkin, Peter Cushing, had in fact passed away).

DSC_4815
Hickel (centre) gears up for the THU TV interview. Photo by John Crowcroft.

With before and after images from those films, here’s some of Hickel’s main takes on how he and his team tend to tackle a character where actor and animator need to combine to craft the final result.

DavyJones_plates
When we were gearing up to do Pirates 2, we had a bunch of problems to solve. One of them was, we knew we needed to do body motion capture on location, which is something we at ILM had not done before. We needed to do it in jungles and on ships at sea and on sets, because we didn’t want to capture Bill Nighy’s performance separately on a motion capture stage. We wanted him there with the other actors. And then we had Davy Jones’ beard, which was a massive problem. It’s probably the single most difficult thing we had to do on the show. So, we decided not to tackle facial motion capture, but we opted instead to shoot Bill on-set in a motion capture suit – what we called iMocap are is our version of on-set motion capture.
DavyJones_final
So, we’d filmed him and then the animators would just study the footage of face and keyframe animate Davey’s face. The thing is, it wasn’t just a mechanical process of saying, ‘Oh well this, you know, the mouth corner moved this much, so we’ll move our mouth corner that much.’ You really had to look at it and try and figure out what his intention was as an actor. Sometimes that’s a bit like tasting a stew and trying to figure out what they put in it. When an actor is doing something really subtle and there’s no subtext, really teasing that out and getting it right as you transform it, because that’s the other thing, is it wasn’t a one to one transfer. I mean, if Bill got angry and flared his nostrils, well, Davey doesn’t have a nose. So we had to find other ways to communicate certain things. So there was a translation that had to happen, but the intent was always to preserve exactly what Bill had done and communicate that faithfully.
Warcraft2_capture
On Warcraft, it was definitely our impression that at least some of the actors who had done shows before where they were creating characters using motion capture, that they seemed to have the impression that that was all good and everything, but ultimately later on the visual effects crew was going to just bulldoze over that with animation and obliterate it and kind of do their own thing. So we did a test pretty quickly, just a few weeks into principal photography where we took some early phase capture of Robert Kazinsky and transferred it onto Orgrim.
Warcraft2_final
Even though our Orgrim asset wasn’t quite finished yet, we got a nice looking render with some nice lighting and we took that back to set on a laptop and just went around and showed it to the actors to say, ‘Look, what you’re doing on set is gold and we are going to treat it with kid gloves because the whole idea is to get that from a to b – you will see yourselves in these characters at the end of the process. And I think it was a great comfort to them. I think they felt that was great, like, ‘It actually matters what I do on camera.’
RogueOne_Tarkin_capture
With Rogue One and Tarkin, the actor having passed away introduces a very difficult thing that I don’t think we have all the answers for in terms of our technology and our processes. Because the very hardest thing from my point of view on it was, well, we had a terrific actor – Guy Henry. But Guy doesn’t use his face the way Peter Cushing uses his face. We all use our face differently. He doesn’t smile like him. He doesn’t form the phonemes the same. So while we could get a great performance from Guy and we could apply that to Tarkin and get a realistic looking movement, it lacked Tarkin’s likeness. We had high realism, but we had problems with likeness. It looked like Peter Cushing’s cousin or something. So we’d have to then adjust the motion to the face. The animation team would have to adjust it – if he did a smile, say, to get it to look like a Tarkin smile or a Peter Cushing smile.
RogueOne_Tarkin_final
The problem was if you messed with it too much, of course it would start to feel like you’ve messed with it. It’s very easy to break capture. Even body capture people who’ve worked with it know that it’s sort of an interconnected web of motions. And if you just tweak the hips a little or move this a little, you can break stuff pretty quickly and it starts to look weird and Frankenstein’d together. So we had to find a line. We were trying to chase realism, but we’re also trying to chase likeness. And sometimes we had the sacrifice likeness a little bit to keep it feeling real and it would be a little less Cushing because we just didn’t want to push the motion around that much.
null
We didn’t do facial capture with K-2SO on Rogue One, but Alan Tudyk’s performance, his comic timing, every little choice of how he moved his head and the delivery of his lines – we never messed with his timing. We had to fit the body capture to K-2SO and his posture and everything, but, again, the whole job there was to preserve what Alan had done, not to change what he’d done, especially his timing. We never messed with his time. It was perfect comedy gold.
RogueOne_K2SO
Actors are still at the heart of the process. They’re the foundation on which we build everything else. To me that’s kind of exciting. It’s funny because when motion capture was first coming onto the scene in visual effects, there were a lot of animators who were afraid of it because it took away some of their creative authorship over the work and I think they assumed that pretty soon just everything would be done with motion capture. But in fact it’s provided us with some really creative interesting tasks to build characters where we’re partnering with an actor.
No Comments
Oct 10

ILM’s Hal Hickel on the symbiotic relationship between actor and animator

Posted in: Animation

Warcraft3_final

At the recent Trojan Horse was a Unicorn event in Malta, I had the opportunity to sit down with ILM animation supervisor Hal Hickel for a THU TV interview.

We talked about the wealth of CG characters Hickel has overseen which began with live action and motion captured performances, including Davy Jones from the Pirates of the Caribbean films, the Orcs in Warcraft, and Tarkin and K-2SO in Rogue One (in which the original actor playing Tarkin, Peter Cushing, had in fact passed away).

DSC_4815
Hickel (centre) gears up for the THU TV interview. Photo by John Crowcroft.

With before and after images from those films, here’s some of Hickel’s main takes on how he and his team tend to tackle a character where actor and animator need to combine to craft the final result.

DavyJones_plates
When we were gearing up to do Pirates 2, we had a bunch of problems to solve. One of them was, we knew we needed to do body motion capture on location, which is something we at ILM had not done before. We needed to do it in jungles and on ships at sea and on sets, because we didn’t want to capture Bill Nighy’s performance separately on a motion capture stage. We wanted him there with the other actors. And then we had Davy Jones’ beard, which was a massive problem. It’s probably the single most difficult thing we had to do on the show. So, we decided not to tackle facial motion capture, but we opted instead to shoot Bill on-set in a motion capture suit – what we called iMocap are is our version of on-set motion capture.
DavyJones_final
So, we’d filmed him and then the animators would just study the footage of face and keyframe animate Davey’s face. The thing is, it wasn’t just a mechanical process of saying, ‘Oh well this, you know, the mouth corner moved this much, so we’ll move our mouth corner that much.’ You really had to look at it and try and figure out what his intention was as an actor. Sometimes that’s a bit like tasting a stew and trying to figure out what they put in it. When an actor is doing something really subtle and there’s no subtext, really teasing that out and getting it right as you transform it, because that’s the other thing, is it wasn’t a one to one transfer. I mean, if Bill got angry and flared his nostrils, well, Davey doesn’t have a nose. So we had to find other ways to communicate certain things. So there was a translation that had to happen, but the intent was always to preserve exactly what Bill had done and communicate that faithfully.
Warcraft2_capture
On Warcraft, it was definitely our impression that at least some of the actors who had done shows before where they were creating characters using motion capture, that they seemed to have the impression that that was all good and everything, but ultimately later on the visual effects crew was going to just bulldoze over that with animation and obliterate it and kind of do their own thing. So we did a test pretty quickly, just a few weeks into principal photography where we took some early phase capture of Robert Kazinsky and transferred it onto Orgrim.
Warcraft2_final
Even though our Orgrim asset wasn’t quite finished yet, we got a nice looking render with some nice lighting and we took that back to set on a laptop and just went around and showed it to the actors to say, ‘Look, what you’re doing on set is gold and we are going to treat it with kid gloves because the whole idea is to get that from a to b – you will see yourselves in these characters at the end of the process. And I think it was a great comfort to them. I think they felt that was great, like, ‘It actually matters what I do on camera.’
RogueOne_Tarkin_capture
With Rogue One and Tarkin, the actor having passed away introduces a very difficult thing that I don’t think we have all the answers for in terms of our technology and our processes. Because the very hardest thing from my point of view on it was, well, we had a terrific actor – Guy Henry. But Guy doesn’t use his face the way Peter Cushing uses his face. We all use our face differently. He doesn’t smile like him. He doesn’t form the phonemes the same. So while we could get a great performance from Guy and we could apply that to Tarkin and get a realistic looking movement, it lacked Tarkin’s likeness. We had high realism, but we had problems with likeness. It looked like Peter Cushing’s cousin or something. So we’d have to then adjust the motion to the face. The animation team would have to adjust it – if he did a smile, say, to get it to look like a Tarkin smile or a Peter Cushing smile.
RogueOne_Tarkin_final
The problem was if you messed with it too much, of course it would start to feel like you’ve messed with it. It’s very easy to break capture. Even body capture people who’ve worked with it know that it’s sort of an interconnected web of motions. And if you just tweak the hips a little or move this a little, you can break stuff pretty quickly and it starts to look weird and Frankenstein’d together. So we had to find a line. We were trying to chase realism, but we’re also trying to chase likeness. And sometimes we had the sacrifice likeness a little bit to keep it feeling real and it would be a little less Cushing because we just didn’t want to push the motion around that much.
null
We didn’t do facial capture with K-2SO on Rogue One, but Alan Tudyk’s performance, his comic timing, every little choice of how he moved his head and the delivery of his lines – we never messed with his timing. We had to fit the body capture to K-2SO and his posture and everything, but, again, the whole job there was to preserve what Alan had done, not to change what he’d done, especially his timing. We never messed with his time. It was perfect comedy gold.
RogueOne_K2SO
Actors are still at the heart of the process. They’re the foundation on which we build everything else. To me that’s kind of exciting. It’s funny because when motion capture was first coming onto the scene in visual effects, there were a lot of animators who were afraid of it because it took away some of their creative authorship over the work and I think they assumed that pretty soon just everything would be done with motion capture. But in fact it’s provided us with some really creative interesting tasks to build characters where we’re partnering with an actor.
No Comments
Oct 10

ILM’s Hal Hickel on the symbiotic relationship between actor and animator

Posted in: Uncategorized

Warcraft3_final

At the recent Trojan Horse was a Unicorn event in Malta, I had the opportunity to sit down with ILM animation supervisor Hal Hickel for a THU TV interview.

We talked about the wealth of CG characters Hickel has overseen which began with live action and motion captured performances, including Davy Jones from the Pirates of the Caribbean films, the Orcs in Warcraft, and Tarkin and K-2SO in Rogue One (in which the original actor playing Tarkin, Peter Cushing, had in fact passed away).

DSC_4815
Hickel (centre) gears up for the THU TV interview. Photo by John Crowcroft.

With before and after images from those films, here’s some of Hickel’s main takes on how he and his team tend to tackle a character where actor and animator need to combine to craft the final result.

DavyJones_plates
When we were gearing up to do Pirates 2, we had a bunch of problems to solve. One of them was, we knew we needed to do body motion capture on location, which is something we at ILM had not done before. We needed to do it in jungles and on ships at sea and on sets, because we didn’t want to capture Bill Nighy’s performance separately on a motion capture stage. We wanted him there with the other actors. And then we had Davy Jones’ beard, which was a massive problem. It’s probably the single most difficult thing we had to do on the show. So, we decided not to tackle facial motion capture, but we opted instead to shoot Bill on-set in a motion capture suit – what we called iMocap are is our version of on-set motion capture.
DavyJones_final
So, we’d filmed him and then the animators would just study the footage of face and keyframe animate Davey’s face. The thing is, it wasn’t just a mechanical process of saying, ‘Oh well this, you know, the mouth corner moved this much, so we’ll move our mouth corner that much.’ You really had to look at it and try and figure out what his intention was as an actor. Sometimes that’s a bit like tasting a stew and trying to figure out what they put in it. When an actor is doing something really subtle and there’s no subtext, really teasing that out and getting it right as you transform it, because that’s the other thing, is it wasn’t a one to one transfer. I mean, if Bill got angry and flared his nostrils, well, Davey doesn’t have a nose. So we had to find other ways to communicate certain things. So there was a translation that had to happen, but the intent was always to preserve exactly what Bill had done and communicate that faithfully.
Warcraft2_capture
On Warcraft, it was definitely our impression that at least some of the actors who had done shows before where they were creating characters using motion capture, that they seemed to have the impression that that was all good and everything, but ultimately later on the visual effects crew was going to just bulldoze over that with animation and obliterate it and kind of do their own thing. So we did a test pretty quickly, just a few weeks into principal photography where we took some early phase capture of Robert Kazinsky and transferred it onto Orgrim.
Warcraft2_final
Even though our Orgrim asset wasn’t quite finished yet, we got a nice looking render with some nice lighting and we took that back to set on a laptop and just went around and showed it to the actors to say, ‘Look, what you’re doing on set is gold and we are going to treat it with kid gloves because the whole idea is to get that from a to b – you will see yourselves in these characters at the end of the process. And I think it was a great comfort to them. I think they felt that was great, like, ‘It actually matters what I do on camera.’
RogueOne_Tarkin_capture
With Rogue One and Tarkin, the actor having passed away introduces a very difficult thing that I don’t think we have all the answers for in terms of our technology and our processes. Because the very hardest thing from my point of view on it was, well, we had a terrific actor – Guy Henry. But Guy doesn’t use his face the way Peter Cushing uses his face. We all use our face differently. He doesn’t smile like him. He doesn’t form the phonemes the same. So while we could get a great performance from Guy and we could apply that to Tarkin and get a realistic looking movement, it lacked Tarkin’s likeness. We had high realism, but we had problems with likeness. It looked like Peter Cushing’s cousin or something. So we’d have to then adjust the motion to the face. The animation team would have to adjust it – if he did a smile, say, to get it to look like a Tarkin smile or a Peter Cushing smile.
RogueOne_Tarkin_final
The problem was if you messed with it too much, of course it would start to feel like you’ve messed with it. It’s very easy to break capture. Even body capture people who’ve worked with it know that it’s sort of an interconnected web of motions. And if you just tweak the hips a little or move this a little, you can break stuff pretty quickly and it starts to look weird and Frankenstein’d together. So we had to find a line. We were trying to chase realism, but we’re also trying to chase likeness. And sometimes we had the sacrifice likeness a little bit to keep it feeling real and it would be a little less Cushing because we just didn’t want to push the motion around that much.
null
We didn’t do facial capture with K-2SO on Rogue One, but Alan Tudyk’s performance, his comic timing, every little choice of how he moved his head and the delivery of his lines – we never messed with his timing. We had to fit the body capture to K-2SO and his posture and everything, but, again, the whole job there was to preserve what Alan had done, not to change what he’d done, especially his timing. We never messed with his time. It was perfect comedy gold.
RogueOne_K2SO
Actors are still at the heart of the process. They’re the foundation on which we build everything else. To me that’s kind of exciting. It’s funny because when motion capture was first coming onto the scene in visual effects, there were a lot of animators who were afraid of it because it took away some of their creative authorship over the work and I think they assumed that pretty soon just everything would be done with motion capture. But in fact it’s provided us with some really creative interesting tasks to build characters where we’re partnering with an actor.
No Comments