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Mr Rid
10-09-2012, 06:57 AM
http://www.youtube.com/watch?v=6I9MsT7juTM Please view 'original' res at 2048x1556.

These are a few shots I worked on for the movie Looper, demonstrating the result of some manual tracking/match moving tricks I developed over the years- http://forums.newtek.com/showthread.php?94121-Matchmoving-in-Lightwave These are not final comps.

I modeled, textured, lit, tracked, and did first pass comps of a futuristic, folding cell phone. Created and rendered in Lightwave, and comped in Fusion. There are two other phone shots in the movie that are not shown here.

I created a proxy of the room for ambient lighting and reflection, although accurate detail was not necessary.
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The phone is slightly transparent so I had to also track CG fingers to refract, reflect, and cast shadows on the phone. Each of the four folding panel motions had to be individually keyframed.

Tracking the phone was tricky since each of the actor's individual fingers were also slightly flexing so there was no reference point within the plate to definitively track thruout a given shot. It was noticeable if the CG phone wriggled inappropriately by even a single pixel. The phone flaps also had to be animated with slightly more apparent weight than the card the actor was holding, as the card would sometimes jump in a single frame. The phone was rendered in one pass for comp.

I did rough comps in Fusion that wound up near to final. I had to roto the fingers in order to see if the phone was tracked well, I added grain and color correction, and I erased edges of the blue card from the plates in some areas where it showed around the CG phone. I always do rough comps to show the FX house I am working for, and I tend to do more detailed compositing than is normally expected from a 'slap comp' from the CG artist. Often, a compositor is not yet assigned or available, so my comps become what is shown to the director and FX super. The client was very picky about seamless comping. I passed my Fusion comps to the CG supervisor Rif Dagher, who did final comp tweaks (mostly roto related), so a dedicated compositor was never needed.
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RebelHill
10-09-2012, 07:40 AM
That (X2) shot of effect/viewport, where he's tapping away at the phone is superb.

monovich
10-09-2012, 09:26 AM
Very nice. Now I can keep an eye out for this in the movie.

Waves of light
10-09-2012, 10:07 AM
Very nice comp. Really like how the phone flexed with finger/hand movement. Really looking forward to seeing this film.

Markc
10-09-2012, 11:37 AM
Really enjoyed this film, was getting sick of remakes/sequels.
It was nice to see something fresh.
As all good effects shots should be, I didn't think for one minute there was a CG phone in that shot (thought it was a physical prop).
Very nice work :thumbsup:

kopperdrake
10-09-2012, 01:07 PM
I saw it last week and thoroughly enjoyed it - great acting all round. I remember that scene vividly and in no way did I suspect that was CGI - I just would never have questioned it. Superb :thumbsup:

Mr Rid
10-09-2012, 09:25 PM
BTW, I had no set info as usual, so again I was eyeballing lens, lighting and distances, which wasnt too big an issue with such a small area of frame to deal with.

I was informed that the original intent was to create the cell phone in 2D. But the client later realized they would not get the same lighting detail as a 3D solution.

v1u1ant
10-09-2012, 09:42 PM
Thats amazing work. Can you say how many hours this took you to do? I only just started to notice the CG on the last Rough Comp clip where the guy is fiddling with the phone. Somehow it looked too crisp against the original footage, especially when his hand moves away and the phone is comped over his trousers. But if i hadnt have been told, i would have never have guessed it was CG.

beverins
10-10-2012, 08:27 AM
Masterful!

Cryonic
10-10-2012, 11:13 AM
The best CG is the CG you don't notice is CG :)

Mr Rid
10-11-2012, 12:20 AM
Can you say how many hours this took you to do?
Not sure. 2 or 3 work weeks.

Axis3d
10-12-2012, 02:10 PM
Great work. Seamless.