"We can use this to open up another chapter in film-making, where you can make stories that aren't just action stories. Rather than being seen as a Hollywood throwback, Favreau hopes The Jungle Book can mark a new trend. And to make it something you're not going to wait to see until it's on download." (Or rivalry - Andy Serkis is directing Jungle Book: Origins, a competing motion-capture adaptation for Warner Bros, due in 2017.) "It's not simply about pushing the technology further than it's ever gone before, but to make you see things and feel things. The result is a jungle that looks and feels almost intimidatingly real.īut going to such lengths, Favreau says, isn't just for spectacle. "We had the editing system on-set, and we would cut what we just shot into the movie, so that at any given time you could watch the whole thing." Finally, the finished footage would then go into post-production for the bulk of the visual-effects work - animating every tiny hair (modelled on those of real animals) and shadow by hand - and editing. "You'd see the kid with a guy in a blue suit, or a puppeteer, then with Simulcam you'd see the bear walking next to him," says Favreau. Using a rig called SimulCam, also developed on Avatar, Favreau's crew could then combine the live-action footage - shot in native 3D using a Cameron-Pace rig - with the previz set and motion-capture in real time. Even the lighting was meticulously planned, with LED panels programmed to create the particular shadows for passing elephants or buffalo. The film's production designers then recreated small sections of the set as required for each of Sethi's live-action shots using blue screens and props, while puppeteers or actors stood in for the animals.
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