Unmask the Secrets Behind "The Amazing Spiderman 2" by David A. Smith (SPI)
This was then the last talk of the how conference that we attended and it was one of the ones that we were most excited to go and see all week as I was a huge fan of the new Spider Man film. The film used Sony Capture Image to be able to take images of 30 000 square feet of New York State so that they could successfully reconstruct it digitally.
Part 1
Spidey
Firstly he started by taking about Spiderman himself and the new suit that they created for this film. It has an overall better look to it but this was slightly thinner but loser, which can them a chance to use Maya Ncloth and they got to play around with the new dynamics and really show off the wind fluttering against the material throughout the film. In some scene Andrew Garfield wore the mask but left out the plastic from the eyes so that he could actually see where he was going and then they were added in after digitally so that they could reflect backgrounds properly.
Fun
They had a lot of fun when animating the movement around the city but had to ensure that it kept within the laws of physics. They used a stunt man that they filmed when he was hanging around and humping around buildings. The camera had to move slightly so that it looked like it was part of the scene and actually following Spiderman around the city, so they ensured that it had a slight amount of movement. The cut length of scenes where also important as originally there will around 3-12 shots and the animators will cut it down to 1, making it an important stage of production. The web slinging pretty much stayed the same but they made it slightly more knotty and in one scenes they used it to represent a hand reaching out as well to try save Gwen.
New York City
They had to add in room corner interiors so that there was movement inside them if you do ever look into them. You are not allowed to go more than 55kph in a stunt car in Manhatten so they filmed a lot of their shots in Upper New York and then composited them into Manhatten in post production instead.
Part 2
Electro
Oscorp employee Max Fillon, who falls into a tank of mutated electric eels, therefore turning him into Electro, a man who cannot control the electricity running through him. They had the same team that did the zombie makeup from The Walking Dead to create Electro's look. The inspiration from it came from looking at lighting networks and glowing creatures to see how the electricity can move around his system. He's made up of many different layers to allow different elements of him light up, like the red veins. Sometimes he will glow creating a different colour in each scene under different lighting.
The inspiration for the bolts that he can shoot came from plasma balls and lighting and the way that they can branch out and fizzle out at the end. Eight different layers provided the bolt of electricity and inspiration came from space nebular power, eels and other sea creatures for colour and movement. Electro can also transport himself into plugs and electrical items. They again had multiple layers that were all merged toegther. They filmed an animator underwater to be able to get an idea about how he would fly.
Part 3
More Villians
They built a set for the power plant scene so that when it is shot it includes quite a bit of initial detail. They can volume render so they don't have to render out different passes. This power plant scene also included the introduction of Green Goblin. They took a plaster-cast of his face so that if they came across any problems they could CG them in easily. For Rhino's model it has nearly 3 million polys and around 400 joints in his rig, which is an impressive amount, that now after I have done a module that had a 20 joint chain, 400 seems crazy!
Environments
For the environments they used a piece of technology that means they can transfer a piece of geometry into a mesh light. For the New York Times Square scene they had to film in Long Island and then they had green screen panels all of the way around them while they were filming. They had to send out photographers and camera mean to pick out all of the smaller details in the real Times Square from every position and get all of the necessary reference images. They captured all of the light on dirty buildings and of different offices to be able to make them as realistic as possible. For the film they captured over 36 000 stills and they had to stitch all of the panoramic images back together at the studio. Along with this process they also had to create individual billboards, around 140 altogether for this one scene, and when the shot changed so did the signs in Times Squares, which is why they had to make so many. Also they had a grand total of 491 lampposts and 486 plants that they had to design and put in their virtual New York.
Then after all that effect, they blew it all up.
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