For the past few months I’ve been working at Lola Post, London, on Mankind, soon to be shown on the History channel both here in the UK and the USA.
I worked on quite a few sequences, 30 shots in total. Most of these involved creating projectiles of differing sorts, predominantly arrows; People firing arrows, being shot by arrows, and avoiding arrows while simultaneously cheating the whole archer deal by using guns. All arrows in the sequence above are CG.
As with many documentaries, many shots on Mankind were illustrative map shots, presented as full scale Earth scenes and as full CG shots they were subject to much change. Luckily, the flexibility of CGI makes it easy to work outside the boundaries of reality and to change one’s mind.
A few of the shots I worked on involved creating digital sets. Firstly I created an aqueduct for a sequence of shots with Caesar in. This was a case of tracking shots, matching on set details and extending upwards.
The trickiest shot was a bullet time shot, first in the sequence above, showing an Irish navvy unwittingly getting a little too close to a tunnel blast within the Appelacians. The original footage was green screen with the actor effectively sitting on a green pole with the camera moving around him. This introduced a wobble but was significantly easier and cheaper than a timeslice rig. As the footage was ramped up and down as well as being slow mo, getting rid of the wobble was high priority and after many tests it was eventually solved with simple yet nifty 3d camera trickery.
To smooth out the wobble, I followed a suggestion of Lola’s MD, Grahame. Having tracked the raw footage in PFTrack I projected that original footage through the camera in Softimage onto a card, positioned where the actor should be. That way the actor stayed in the same place in 3d space whilst I moved my new 3d camera around him.
The entire environment in that shot is a 3d set I threw together out of multiple particle instances of the same handful of rock models.
Most of the other shots were relatively straight forward, the exception being another bullet time shot, this one actually being one of the first bullets ever fired! The footage for the start of the shot was different to that of the end, so although the start had lots of people thrusting spears and poles in a smokey landscape, the end was completely clear of people and smoke, plus the target dummy was way too near. To solve this I made a new 3d gun, texturing it with various camera projected textures from the original footage, then made a new background out of a humongous psd stitched together out of footage and photos. In the end none of the original footage is being used as footage, more as texturing inspiration! It’s a really long shot so I split it in the sequence above.
All the work I did on this show bar the Earth-scale shots was rendered using Arnold. This has an advantage over Mental Ray of being a fast method of getting realistic lighting complete with indirect light bouncing. The quality is superb. To me, Mental Ray is much more flexible, but Arnold trumps it for speed between initial light placement and realistic render. I’m very glad I’ve forced myself to learn it.
A few of the aforementioned Earth-scale map shots are shown below.