1/23/2024 0 Comments Eightball blood red skyLighting/shading/rendering happened in 3ds Max using V-Ray, and the final comp was done again in Nuke. In some shots, we opened their mouths much wider than a real human could do it. We 3D tracked the heads of the actors with the stage three scan, copied those transformations onto our extended stage three head model, and used the resulting differences between the models in the comp department to drive the distortion inside Nuke to widen the eyes.įor the CG replacements of the lower parts of the face, our animators roto-mated the original facial performance of the actors in Maya and then exaggerated those movements. Our senior comp artist, Tim Klink, came up with a method that enabled us to widen the eyes directly in comp in a very short time. Our modelling department used those scans as a basis to model the widened eyes and bigger jaws. We had 3D scans of the actors’ faces without any SFX make-up, with fully applied stage three SFX make-up, and 3D scans of the concept design busts from the SFX make-up department. Finding the right balance of how far we could go with our face changes was a process that took a couple of weeks of going back and forth. We needed to bring something supernatural into the faces, where the audience gets a feeling that there is something non-human, but they can’t really tell what it is. Our briefing for the face extensions was to change the actors’ specific characteristics, but not to destroy their original performance while changing their faces, and to not destroy the great designs of the SFX make-up department. In this stage, we widened the eyes of the two main characters, Nadja and Eightball, and replaced the lower part of the face in some shots with a 3D model. Stage 3-The face continues to change jaws get bigger, and the distance of the eyes widens.
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