VFX Making Of Immersive Cocoon "2011"

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  • Making Of Immersive Cocoon "2011"
  • A behind the scenes glimpse into the making of Immersive Cocoon "2011", starring Keir Dullea. 

    The making of video depicts Mr. Dullea traversing from live action through a digital set displayed in progression from wireframe to raw render to final composite. Lifting the veil on the 3D computer graphics by director Oliver Zeller & the 2D post work completed with co-vfx supervisor Quan Tran, and compositors Miguel Bautista and Anthony Vu. Additional breakdown, on-set footage and production materials appended.

    CG featured in Autodesk 2011 Design Visualization Reel & Chaos Group's Film & VFX Reel. 

  • Following months of previsualization in 2009, frames were rendered and the protagonist painted in by Manuel Plank-Jorge to form this storyboard presentation. It proved instrumental in securing Mr. Dullea and was also used for legal & guild inquiries.
  • Filmed at Bravo Studios NYC, this setup represents the alcove room, replaced in post production by the digital set. The floor is backlit with a dozen kino-flo megabanks.
  • Filmed with the RED Camera, footage was output via REDCine-X. The 4K resolution proved especially useful, allowing shots to be pushed in further or overscanned in post, and in the final shot pullback - augmented with a digital zoom.
  • To capture the Cocoon's reflection, a 5D Mark II with a fisheye lens filmed simultaneously with the primary RED camera and was later retimed to match the RED footage.
  • Unable to attain the desired initial shot with a steadicam, the hand-held camera was simulated in 3D with Mr. Dullea billboarded into the scene. Psuedo geometry produced a more three dimensional billboard shown to the right.
  • The digital set and cocoon models were further refined from previsualization throughout 2010 & totaled 5.5 million polygons.
  • Modeling was handled in Modo, then brought into 3DS Max for animation, surfacing, rendering.
  • The original Immersive Cocoon, modeled in Maya using NURBS, was translated to polygons and remodeled in Modo. Wrinkles were sculpted into the seating cushions using Mudbox.
  • Shots were rendered with linear workflow to multi-channel EXR's, some in excess of 100 channels, using V-Ray.
  • The clean environment and artificial uplight posed a challenge in creating a realistic setting. Extra attention was given to producing subtle color variations, gradations and nuanced shaders as in this custom painted wood shader.
  • Passes featuring subtle wear, scuffs & scratches were also painted in using custom brushes, particularly for the alcove, and the plexi floor. This floor pass was combined with primary & reflection passes over the room's sub-structure in post.
  • Primary composites were implemented in Nuke, where Keir Dullea was integrated and 3D renders enhanced.
  • Additional compositing was done in After Effects, including final output to Premiere for editing.
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