![]() To hear Legato's entire conversation with Studio, watch the video below or right-click here to download an audio-only version. Legato also describes the Jungle Book production pipeline in detail, how it has evolved and improved since his Avatar days, and how these techniques were used to allow Favreau, Pope, and the visual effects teams at MPC London and Weta Digital to collaborate seamlessly to offer up a new version of Rudyard Kipling’s classic tale of a boy raised by wolves in an Indian jungle, who is aided by many different creatures in fleeing the jungle to escape the murderous intentions of a cruel Bengal tiger. Now, we can see light at the end of the tunnel - to see that we can do this, we can use these kinds of tools to do tasteful renditions of real life to enhance your film.” So, to me, I want or wish for this to be a game-changer by the fact that now has something to compare to. So even though you may intellectually know, hopefully it looks realistic enough that the technology we used fools your eye, and you believe the story more than you are wowed by what is. And that, I think, is the game-changing portion of this project: CG is no longer a dirty word, and visual-effects artists are no longer technicians. What we proved in fits and starts on Jungle Book is that you are totally convinced that what you are seeing is real. ![]() “It is no longer just a visual effect - it is just another way to make a movie. “You change the culture to the point where that advance becomes a standard of moviemaking,” he explains. In that sense, he hopes that The Jungle Book ends up being a “game-changer” by offering filmmakers new ways to tell their stories, allowing them to use computer animation and virtual production techniques to replicate the real world and not just worlds of fantasy and fiction. Legato insists the movie is not an animated film at all, even though only actor Neel Sethi, who plays the character Mowgli, and a handful of props and set pieces that he touches, are real elements - largely because the film was strategically designed to focus the viewer’s sense of the movie away from the technical wizardry used to produce it and into Favreau’s storytelling. Legato recently spoke with Studio to give his insight into how Jungle Book was made, and why such techniques are potentially significant for the industry. So it wasn’t surprising when director Jon Favreau sought out Legato to help him develop a methodology for producing Disney’s The Jungle Book using a form of Avatar’s virtual production technique and going a few steps further, including stunningly photoreal computer animation for almost every element in the entire movie and new processes for permitting cinematographer Bill Pope, ASC, to pre-visualize real and virtual elements together in order to make all of the detailed cinematography-related decisions for imagery created in a computer. Two-time Academy Award winner Robert Legato, ASC, knows all about technically complex, cutting-edge, risky work, having been on the front lines with James Cameron when they figured out how to make Titanic look realistic back in 1998, how to pioneer virtual production techniques for Cameron’s Avatar in 2009, and how to utilize 3D for a non-action movie for Martin Scorsese’s Hugo in 2011, among other achievements. This wiki has been getting stagnant for a while, will be concetrating efforts to really work out details… possible change of venue as well.Avatar Experiences Inform New Film's Radical Virtual Cinematography Methodology It is intended as a collection of links, tutorials or descriptions of how to work with Blender and RenderMan tools. Windows exe, VC++ project files and unix makefile included. Description of the AC3D file format AC3D file loader/viewer source code - C source code for an AC3D file loader/viewer. This is a wiki site devoted to the development, research and promotion of the various Blender to RenderMan projects in the works. AC3D exports Renderman RIB files and Renderman is now available free for non-commercial use - see Renderman free. Rendering the hair Simply select Renderman as the render engine for the scene and Ornatrix hair should appear in the resulting renders. Instead the goal is to prove that with minor hardware investments, this can be inserted into an existing animation pipeline with little effort and a bit of networking skills. Renderman is a feature rich, well established renderer developed by Pixar Supported versions Ornatrix is supported in all versions of Renderman 21 and newer. Our goal also is not to replace current studio pipelines, an investment like that cannot be replaced with this open source alternative. Our goal also is to prove to the professional industry that this software is capable of handling large scale productions and that with enough training can be used for any task, commercial or film. To establish the Blender to Renderman pipeline as a viable computer animation option for individuals, students, small studios, universities and the curious alike without having to invest thousands of dollars into software alone.
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