TV Asia Plus
Asia Image
Invalid username or password!
Free Magazine Subscription
Printer-friendly version
Sony HD cameras bring Avatar to life in 3D
1 January 2010Avatar used Sony high-definition digital cinematography cameras to create a visually immersive 3D experience. The movie combines live action sequences with state-of-the-art special effects and, according to the production teams, the Sony cameras were the right choice to deliver the story’s vision.
Vince Pace, veteran cinematographer and 3D technology expert, co-developed the 3D camera rigs, which used Sony cameras specially modified for the movie’s requirements for stereoscopic image capture and production.
“Avatar used eight Sony HDC-F950 cameras for primary acquisition. Additionally, Sony HDC-1500 cameras captured speed shots during live action, with the then recently available F23 camera also used for specific shots.
“It was important that the actual shooting of the movie wasn’t impacted by the fact we were doing it in 3D, and these cameras allowed us to do that,” said Pace. “They allowed us to create a unique and completely immersive 3-D experience. I don’t think it could have been done any other way.”
Pace noted that his goal was to create a shooting system that could do both 2D and 3D without impacting the creative direction of the film or disrupting the actors’ performances. The Sony cameras delivered the ideal combination of 2/3-inch image quality and on-the-set flexibility that enabled them to go from handheld to a techno crane to Steadicam at a moment’s notice.
“This movie is the result of nearly four years of production, with Vince and his team modifying the Sony camera systems, and continually refining the technology,” said Rob Willox, director of Sony Electronics’ content creation group. “What movie-goers will see on the screen represents the pinnacle of 3-D technology, and the unique 3-D views are the direct result of the Sony camera systems.”
The Sony cameras were put to the test in a range of shooting conditions: jungle and action sequences, as well as soundstage work for the interaction with the CG characters.
“We knew we could achieve the creative look we wanted with these cameras based on our testing and previous experiences,” Pace said. “Sony’s CineAlta brand and the performance of these camera systems are very well-known and very powerful. The one thing we didn’t want to do was compromise the 2D in the quest for 3D. With these cameras, we were able to tell the story we wanted, in the best way possible.”
Virtual world production in Avatar
To fulfill director James Cameron’s vision for the film Avatar, new techniques in the workflow for virtual world production had to be invented, sometime criss-crossing the divide between pre-visualisation, production and post-production.
David Stripinis, lead virtual camera operator on the film, recalls one occasion where an object called a Daisy Cutter was required, but no model of it existed. So he opened Luxology’s Modo 401, quickly created a simple model with material colors but no textures, and imported it into Autodesk’s Motion Builder for the shot. A concept artist later refined it into a finished model, which is normally a pre-production task. From there, it went to production for the creation of a physical model, and finally to post.
“I’m really looking forward to where the technology is going to go, as it links up heavy post production stuff in realtime,” said Stripinis. “Being able to manipulate assets in realtime is incredibly valuable for a director.”
Although the movie takes place in a virtual world, LA-based Giant Studio’s proprietary biometric motion capture system allowed Cameron to direct and shoot multiple motion captured actors on an elaborate virtual stage as if on a live-action set.
A virtual camera operator is, to some extent, a jack-of-all-digital-trades. In addition to driving the camera, Stripinis and his crew routinely manipulated models, characters, and details on the set to perpetuate the live action filming aura.
They applied motion capture signals from the set to rigged characters loaded in Motion Builder, whether those characters were the Na’vi or human beings that would later be replaced with live action or digi-doubles. Then, like digital makeup artists or prop masters, they stepped in with the right tool when something went wrong.
The virtual camera, which is essentially an LCD monitor with motion capture markers on it, could move in ways no physical camera could. Movements could be scaled by 5X or 10X, so a move of one foot equaled 10 feet. By scrolling the camera upwards from the floor it became a 30-foot techno-crane. Because Cameron liked to fly quickly around the virtual set, Stripinis provided him with a camera-mounted joystick.
