Carlos -
The Bolt
TV Teaser, (April 2010)
Un Film de: Wilfrid Brimo - Production: Wanda - VFX/CGI/PostProduction: Mikros image
My Job: CG Supervisor - Pre-viz Artist - Milo Motion Control Camera Path Design - FX Artist
Maya, Arnold Render, Nuke
| Making OF |
| The choreography of this film was too complex to be shot in a single pass. The use of a "motion controlled |
| camera" has become evident as each event in the movie was being filmed separately: People who walk in the |
| street yet peaceful, the first explosion, the destruction of the BMW, the explosion of the window of the shop |
| behind the BMW, the explosion of the windshield of the red car, the bottles that breaks on the floor, |
| the seat on fire falling in front of the camera, various debris, papers and dusts flying in the air. |
| Finally, about twenty passes were made. The bolt will be made later in CG. |
| Following extensive discussions with Wilfrid in order to define the exact requirements of this |
| project(complex trajectory of the camera alternating between fast and slow speeds, many explosions, |
| two differents shooting locations, heavy shooting stage), it became obvious that only a CG preparation will |
| lead us to a full succes. I was asked to manage this part of the job as well as supervising all kind of CG. |
| As the Milo motion control could not reach the speeds (fast and slow) that Wilfrid wanted and because he |
| wanted the freedom to modify the timewarp FX several times, we decided to shoot each pass at 400fps and |
| at a linear velocity. The timewarp FX would be done later in post-production, in the Flint. |
| Pre-Visualisation & Motion Control Camera Trajectory |
| I modeled in Maya, the street location using the dimensions obtained on the spot, and Google Street. |
| I designed the trajectory of the 3D camera in Maya, as requested by Wilfrid, constantly checking that the |
| real motion control could do the exact same movement. I used a Maya plugin: "Impulse 3" from Iktrix company |
| that provides a virtual Milo, in Maya. Finally, on the two shooting locations, we used the dimensions |
| defined in Maya in order to position the rails of the Milo. We had to be very precise in order to be sure |
| that images coming from location one, location two and CGI will match in post-production. A lot of stress!!! |
| CG Debris |
| I was asked to make CG debris to be added in some part of the movie where Wilfrid though it was missing. |
| I used Maya's rigid body technique and Mel scripting to produce over 10000 debris. Each debris collided |
| with the floor which made the simulation so slow that it was impossible to do it in one time. |
| Finaly, I wrote a Mel script that made the simulation for groups of 20 debris which were baked, |
| saved to disk and reloaded all together in one unique scene. In order to obtain the same timewarp FX |
| for the CG, I imported the timewarp curve of the flint and applies it to every animation curves in Maya |
| using MEL scripting. Luckily it worked perfectly and we were able to mix the CG images with the final |
| editing with the timewarp FX. |
Global Making Of From Wanda
Shooting in Prague
Milo Motion Control At End Path Position, Street Location
Milo Motion Control At End Path Position, Second Location
Exploding Cars and Glass, Second Location
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