 |
|
|
|
|
|
|
|
|
|
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
Released by :
Warner Bros
Warner Bros
Release date :
16/08/02
16/08/02
Director :
Ron Underwood
Ron Underwood
Produced by :
Martin Bregman, Micheal S. Bregman, Louis A. Stroller
Martin Bregman, Micheal S. Bregman, Louis A. Stroller
Starring :
Eddie Murphy, Rosario Dawson, Randy Quaid, Jay Mohr, Louis Guzman
Eddie Murphy, Rosario Dawson, Randy Quaid, Jay Mohr, Louis Guzman
Senior MoCo operator :
Marc Côté
Marc Côté
Shooting locations :
Mels Cite du Cinema
Mels Cite du Cinema
Related links :
Pluto Nash
If you ask the typical movie fan what they find appealing about films which take place in outer space with dynamic villains and unwary hero's battling in new and creative places they'd surly say, “the visual effects of course.” If you ask movie producers what they see as the most important aspect in a movie which incorporates futuristic cities, flying cars and other worldly locations, they'd surely say “well, the visual effects.” Well, if you ask us, that just what we like to do.
The Adventures of Pluto Nash (Warner Bros) combines all of these elaborate scenarios of outer space mayhem and sets the tone for creating visual effects corresponding with a slightly comical world of exotic nightclub's, glitzy casino's and long abandon lunar outposts. Following the anti-hero antics of outer space nightclub owner, Pluto Nash, after he is put on the run by infamous Moon crime boss Rex Crater. Ignoring plot, script and acting, the concept behind Pluto Nash paved the way for very creative set design and many different varieties of visual effects.
To make possible some of the most compelling effects in the film, Camera e-Motion was hired, after beating out its competitors, to combine state-of-the-art robotics and motion control with live action, expansive sets and models with 3D CGI to create a futuristic setting on the moon.
The two main challenges confronting Marc Côté, president of Camera e-Motion, for Pluto Nash involved both using motion control robot MILO to capture footage, which would later incorporate CG graphics, of a massive 120' x 40' miniature set of the lunar landscape. The major scene which required the use of motion control was a hover car pursuit through a lunar canyon.
To make the car chase possible, MILO was placed parallel to the 80' long miniature canyon and would run the entire stretch with it's camera-head maneuvering through the corridor like structure. In order for this scenario to be possible, modifications were made to MILO. Designed by Camera e-Motion's own team of engineers, a 22 foot replacement of MILO's standard eight foot arm was customized and created for this particular shoot. The extension of the arm (the boom) allowed MILO, with precision and accuracy, to reach every corner of the canyon. To map any possible short comings which could arise during the shoot and to determine the right speeds and maneuvers to make the chase scene have the right feel, CEM used previz. Also, a 3D version of the canyon and MILO were modeled in 3ds max to test the limits and reach of MILO and to establish the correct dimensions for programming MILO's MIMIC software.
The landscape shoot, again, utilized the custom built arm extension of MILO. With greater reach and retract ability (the only retractable MILO arm extension of this size in the biz) the lunar landscape shots went admirably. Using the Revolution lens system, along with standard lenses the miniature set was shot at 0.16 fps, at all kinds of different angles and passes to serve as background plates to the live sequences.
Other aspects of motion control used in the film were live action camera motion capture used casually in many scenes. The motion capture system, entirely designed by Camera e-Motion, was used in several city scenes and indoor scenes. An example would be indoor scenes where a window looks out upon the city, and the required use of compositing the miniature city shots on top of a blue screen to give the appearance of another world just outside the window.
Pluto Nash was a great opportunity for Camera e-Motion to show the film industry, particularly large big budgeted Hollywood productions, that we are up for any job. Whether it be highly customized motion control work involving precision engineering, or simple programmed passes, the use of motion control brought many vital aspects of cinematography and visual effects together in Pluto Nash. From flying car chases through grand lunar canyons, to bringing the most simple and necessary shots to life, Pluto Nash is another testament to prose motion control and what adventure seeking movie audiences like to see. And if you ask us, thats just what we like to do.
The Adventures of Pluto Nash (Warner Bros) combines all of these elaborate scenarios of outer space mayhem and sets the tone for creating visual effects corresponding with a slightly comical world of exotic nightclub's, glitzy casino's and long abandon lunar outposts. Following the anti-hero antics of outer space nightclub owner, Pluto Nash, after he is put on the run by infamous Moon crime boss Rex Crater. Ignoring plot, script and acting, the concept behind Pluto Nash paved the way for very creative set design and many different varieties of visual effects.
To make possible some of the most compelling effects in the film, Camera e-Motion was hired, after beating out its competitors, to combine state-of-the-art robotics and motion control with live action, expansive sets and models with 3D CGI to create a futuristic setting on the moon.
The two main challenges confronting Marc Côté, president of Camera e-Motion, for Pluto Nash involved both using motion control robot MILO to capture footage, which would later incorporate CG graphics, of a massive 120' x 40' miniature set of the lunar landscape. The major scene which required the use of motion control was a hover car pursuit through a lunar canyon.
To make the car chase possible, MILO was placed parallel to the 80' long miniature canyon and would run the entire stretch with it's camera-head maneuvering through the corridor like structure. In order for this scenario to be possible, modifications were made to MILO. Designed by Camera e-Motion's own team of engineers, a 22 foot replacement of MILO's standard eight foot arm was customized and created for this particular shoot. The extension of the arm (the boom) allowed MILO, with precision and accuracy, to reach every corner of the canyon. To map any possible short comings which could arise during the shoot and to determine the right speeds and maneuvers to make the chase scene have the right feel, CEM used previz. Also, a 3D version of the canyon and MILO were modeled in 3ds max to test the limits and reach of MILO and to establish the correct dimensions for programming MILO's MIMIC software.
The landscape shoot, again, utilized the custom built arm extension of MILO. With greater reach and retract ability (the only retractable MILO arm extension of this size in the biz) the lunar landscape shots went admirably. Using the Revolution lens system, along with standard lenses the miniature set was shot at 0.16 fps, at all kinds of different angles and passes to serve as background plates to the live sequences.
Other aspects of motion control used in the film were live action camera motion capture used casually in many scenes. The motion capture system, entirely designed by Camera e-Motion, was used in several city scenes and indoor scenes. An example would be indoor scenes where a window looks out upon the city, and the required use of compositing the miniature city shots on top of a blue screen to give the appearance of another world just outside the window.
Pluto Nash was a great opportunity for Camera e-Motion to show the film industry, particularly large big budgeted Hollywood productions, that we are up for any job. Whether it be highly customized motion control work involving precision engineering, or simple programmed passes, the use of motion control brought many vital aspects of cinematography and visual effects together in Pluto Nash. From flying car chases through grand lunar canyons, to bringing the most simple and necessary shots to life, Pluto Nash is another testament to prose motion control and what adventure seeking movie audiences like to see. And if you ask us, thats just what we like to do.