One Dead Pixel were tasked with creating the Television Advert for Londons Vitality Show 2012. Filmed over 2 days in the Grove in Watford and Earls Court London using a Sony F3 with only 2 days notice on the venues left little room for error and added to the challenge.
For the second year running One Dead Pixel have worked closely with the Ideal Home show providing a range of 3D visualisations of the key features at the show. These visualisations are multi-purpose for use in both the show website and printed promotional material.
The Ideal Home Show will be running from the 11th – 27th of March at Earls Court.
Filming an entire exhibition in a single day is always going to be a hard task. Filming the exhibition and then providing a fully edited promotional video of the show before the day is over is even harder. Previously completing a project like this would have been virtually impossible, but by using the latest in DSLR technology and recording onto solid state media has allowed us to cut editing turnaround time dramatically and provide a high quality edit onsite.
Providing a fully edited professional promotional video whist the show is running provides the orgainisers with a very powerful marketing tool, which receives a massive influx of views as soon as it appears online. We have then found that this video is quickly re-linked on other industry websites associated with the show, thus resulting in an instant viral advert.
We have seen a dramatic rise in the number of shows requesting what we now call ‘an edit in a day’ for their own shows, seeing their potential within the fast moving digital marketing environment of the modern day.
Being a massive geek this type of video is right up my street. Make sure to change the video quality to 720p HD.
The video shows clearly how Digital Domain put more than 40mins of Imax 3d footage together to create the world of Tron Legacy. To start with Imax footage is ridiculous, we moan as editiors and effects guys when working with footage at full HD 1920×1080, imax can be up to 12k! 12000 × 8700 theoretical pixels or 6120 × 4500 actually discernible pixels. Let alone the whole thing was filmed and created in stereoscopic 3D.
To create the 3d environments and the ddigital make up for young Jeff Bridges character of ‘Clue’ and took 1000′s of man hours and 100′s of thousands of CPUs in huge renderfarms to create each of the digital frames, one at a time.
The models and sets are designed on paper, then created in the computer as digital models. Consider creating a digital chicken wire mesh, then wrapping large pieces of wallpaper onto that mesh. You can chose whatever wallpaper you like and this defines what the surface appears to be made of. Rock, glass, skin you name it.
Once the assets are created they are then lit just as a real world set, key, fill, character, rim etc.. Obviously there a lot of tricks that can be played in the process to create say skin surface requires extremely complex materials, shaders and lighting all combined to create just the right properties…
Finally we have to animate our digital 3D. Be it technically matching moving virtual camera moves with real ones to inoperative real actors into the digital world, which is a hard process in itself with teams of 100′s on most movies these days. Or animating vehicles and characters to move correctly… vehicles are considerably easier than characters… Saying that its a lot easier than stop motion / clay animation instead of having to create every frame one at a time, you set ‘Key’ frames for movement and the computer fills in the middle, i.e. Bike starts at positing A at frame zero, then ends at position B 5 seconds later.
The final stage is compositing, bringing it all together… removing green screen adding environments, blending digital heads onto real bodies etc…
Characters are the trickiest through. To do things right you have to create an exact digital skeleton to move the mesh properly, then a muscular structure to allow the flesh to move and bulge correctly… 1000′s of controls alone are in ‘Clue’s face. Plus its a real art form to be a good character animator, just as not everyone can be a true fine artist, same is true for animators.
This I’m afriad is where DD let themselves down slightly, I could write about the issue of the uncanny valley for pages and pages but I wont for this post. In a nut shell though there is a direct correlation between “realisim” and believability and somewhere up near the top of that graph is a massive dip. Polar express is placed in this dip as you watch it you realise something is just wrong with the faces and it just creeps everyone out. Whilst you watch Tom and Jerry and see a cat and a mouse fighting… you dont even think about it being 12fps, 2d cell animation where the backgrounds dont move. But with Tron Legacy the ‘Digital Makup’ for Jeff Bridges sometime gets over the valley… but then slips smack into it! breaking the suspension of disbelief! We stop watching the movie, stop being sucked into the film, and go Errrrghhh, that guys face is wrong and looks just like a cheap mask.
If you create a caricature or monster, you can get away with a hell of a lot more. Think Jurrasic park in 1996… or Dobby from Harry Potter… Gollum in lord of the rings, or Davy Jones in Pirates of the Caribbean.
I applaud Digital Domain on giving full screen time to a normal human face acting for that much screen time, they did it with Benjimin Button before, but it was mostly and old mans face (caricature) and a slightly younger Brad Pit riding a motorcycle near the end. There are a lot of digital doubles / digital make up doing crazy stunts… batman flying… people blowing up etc. but straight human digital actors acting… not so much. Beowulf was pretty close… but it was an animated movie so sucked you into that aesthetic wholly.
There is also another whole post about digital makeup itself… did you know that every A list celeb… probably B and C also are having full digital body scans regularly. Imagine in 2030 Kira Knightly is 50ish, techs moved on a bit and she can now pull up a digital file of her from every age before hand… she could play herself exactly as she was at that specific age, or any age for that matter using digital makeup. Clue in Tron Legacy is the first real shot at this, its not perfect and its not created from a direct scan but digitally recreated… but the principle is right there. Not forgetting you can of course fix/enhance anything you liked lol.
Any way… a truly impressive feat though, by a top class company.
Just don’t look too deeply for a story….
We worked with the photographer Eddie MacDonald on this project. We were commissioned to film, edit and to produce the interactive DVD that goes with the book.
All 1000 words were shot on one day on a Canon 5DMKII and then edited down into individual words/clips.
We then exported for DVD and created subtitles as an interactive element allowing for people to test themselves against the book….. easy you say…. not when one word was shot out of sequence and you don’t read sign language…. que nightmare.
The two models were excellent to work with, Darren Fudenske and especially Lauren Ridloff as she was crowned as miss deaf America
“American Sign Language book 1,000 Words to Signby Geoffrey S. Poor.
It is a pictorial dictionary that also includes an instructional DVD showing the signs in motion.
The DVD contains letters, numbers and words that appear in the book both with subtitles (as a learning aid) and without (as a testing aid).
The author includes a touch of linguistic information at the start of the book including a brief history of ASL in addition to grammar. His explanations are clear and helpful.”
We completed a series of Visual Effects shots for the new MTV show Pretty Little Liars, think desperate housewives but with 18 girls. The whole premise of the spots were that the girls couldn’t hide the truth and it will come out in the end. The promos stated on VIVA, then were shown on MTV, they had a great response and were shown on Channel 4 and today are showing on ITV1
So we were first asked to add scratches and scars to the girls faces, Zbrushed some great scars and tracked them in 3D and then comped them on…. MTV then said that scars were nto what they now wanted lol so we went back and created tattoos instead. These were simpler in many ways, as most could be 2d tracked with a bit of animated texture and displacement.
The girls were shot at 2k on red at 120fps, Then the effects were built up of the red raw look, then displacement bump, then breaking through tattoo then final tattoo colouring. all mixed together. Sadly the finals were all edited HD… but then graded at PAL as viva isn’t HD in the UK.
Sorry for the low res youtube clips at the moment, when we get high resolutions of the finals we will create a few nice little breakdowns.