One of the most remarkable aspects of the latest Avengers film is how much focus, screen time and empathy there is for the film's antagonist Thanos. It is not uncommon for villains to be criticized as one dimensional or lacking motivation. Often, the plot provides little in motivation and the character, in turn is rarely seen with any subtlety.
Instead, we see Thanos as a complex character with a nuanced performance based on the acting of Josh Brolin. One of the main reasons Brolin could deliver such a subtle and measured performance is that he saw the first complex Thanos test from Digital Domain at the start of principle photography see below and recognised how well the process could work in maintaining the subtlety of his performance throughout the pipeline.
Marvel was very aware from the start of this film that with over 40 minutes of Thanos on screen, if the character did not work, the film would not work. As a result they engaged Digital Domain three or four months before the shoot to do extensive testing and development.
This early commitment by Marvel was pivotal in the way Josh Brolin would play Thanos. The test involved three or four shots of Josh Brolin that were filmed with the actor talking to the directors. Digital Domain took this footage, Clip facial info movie personal remember was not scripted material from the film, and placed Thanos in the Throne room set next to the torture roomin a fully rendered and final quality shot sequence. This test sequence was completed by Digital Domain ready for the first day of principle photography.
We were standing in the corner while Josh Brolin was reviewing the test, and already the Marvel guys and the Russo brothers were excited by it, but we needed to show it to Brolin" recalls Port. The test showed the level of low key performance that could be carried through the pipeline. It was clear from the test that small and informed choices would still read on Thanos' digital face.
It addressed the issue of whether he had to perform that role bigger than he might otherwise do, and that the subtlety of his facial performance was going to come through". For Brolin, the test was key as it was based on clips of him performing Clip facial info movie personal remember character but also just talking to the directors normally.
Looking back at that test today, some 18 months later, Port and the team are surprised to see how much further they
Clip facial info movie personal remember to improve the process. This was in part due to the iterative learning nature of the new approach and also the techniques the team refined during the production. Once principle filming commenced, the process started with any actors who would be digitally replaced, dressed in body capture suits.
Josh Brolin was filmed on set in a motion capture type suit, but not always in a capture volume. Sometimes the team relied on matching his body performance later in animation as the script at that point "Clip facial info movie personal remember" too many additional elements to make a full body capture relevant.
For their faces the actors wore helmet cameras rigs HMC filming in stereo at HD resolution at 48 fps. Each actor, including Brolin, who would be digitally recreated had tracking markers on their faces. Once the cut was established, the team got timecode for the motion capture, the facial capture, and the plate photography. At this point the team would start tracking the face. Up until this point the pipeline matches most similar level facial pipelines established across many productions.
It is at this point that Digital Domain innovated how it treated the footage and input data. Digital Domain created an all new two-step system to handle the facial animation using their in-house Masquerade and Direct Drive software tools.
But instead of just trying to solve from this low resolution mesh to a set of FACS AUs, the Digital Domain pipeline intelligently interpolates the standard low res mesh to a high resolution mesh.
It does this using the new Masquerade software. Masquerade has dramatically improved the quality and the subtlety of what Digital Domain is able to capture from an actor. The program uses "Clip facial info movie personal remember" learning algorithms to "convert the mesh to a high resolution mesh with the same fidelity that we would have gotten if we had used a high quality, high resolution capture device".
Essentially, DD take frames from a helmet-mounted camera system, and using AI, outputs a higher resolution, and more accurate, digital version of the actor's face. Masquerade uses machine learning to take previously collected high-res tracking data from a Medusa scanning session and turns the facial data points taken from a motion capture HMC session into roughly 40, points of high-res 3D actor face motion data.
While HMC units are useful, the HD cameras provide vastly less fine detail than if an actor was just sitting in a Medusa rig. The down side of the Medusa rig is the actor is seated, in a special lighting rig, keeping their head relatively still but being filmed with an array of high quality computer vision cameras.
On the one hand, the HMC cameras provide the actor with a better acting environment, as they are used on the real set, with fellow actors interacting Clip facial info movie personal remember, but this comes at the cost of less tracking detail.
This is in comparison to a Medusa scan where the data is much richer and more detailed, but the actor is confined to a special seated unit with controlled lighting and limited movement. This 4D data is very valuable as other pipelines just capture key poses and then the software Clip facial info movie personal remember left to map the transition between poses, and how the skin moves and stretches to transition from one pose to another.
Not only is this helpful for the actor in giving a performance, but the face data is accurate and matches the body motion for delivery. If the actor was to turn quickly while walking and delivering a line, the secondary motion of the face, caused by the walking and turning is all captured together with that body motion.
The same line delivered later seated in a Medusa would not have that inertia and same body sync. Clearly, what is wanted is the combination of the two inputs, the detail from the specialist Medusa rig and the live and synced facial performance from on set.
While this has been manually done for films, Masquerade does this with AI training data. This meant that during the course of the production the team were able to get increasingly better results as the machine learnt. Technically speaking Masquerade is not a neural network or similar common AI computer vision approach it is a local space basis function.
It is a local space look up that works on patches.
In effect, Masquerade says 'in this area I have warped the mesh as best I can so now I have enough information to look up and learn what the face at this point should look like' or "what is missing from the base mesh to make it match the high resolution training data", adds Hendler.
What is 'missing' from the low res mesh is normally high frequency information that we know as wrinkles or say crows feet around the eyes. It then adds those cleverly and in a consistent way. Technically, Masquerade builds on two pieces of research. Otaduy, and Markus Gross. A second research paper built on this and was published more recently in Sumner, Bernd Bickel, and Markus Gross. In the test above, the image markers dots on the face of the actress can be seen to produce a fairly smooth or low frequency meshthis is then enhanced with more details including wrinkles to produce a high resolution final output.
Disney Research Zurich is now well established as one of the most respected facial reconstruction and animation teams in the world. Their work informs and is used by, not only Digital Domain, but extensively by ILM for their facial pipeline. This whole approach solves one of the fundamental problems of a FACS approach which is the non-linear combinatorial effect of combining AUs.
With this approach Digital Domain had real data on how to move between expressions from the training data Medusa sessions that had been in Atlanta with the Medusa rig they built there for Avengers. But the key is that it does this based on Josh Brolin' acting on set with the other actors, and not alone in the Medusa rig. Once the team have a high resolution moving match of the actor, in this case Josh Brolin, the team can then re-target this from the 3D Brolin to the 3D Thanos.
The second new process in the Digital Domain pipeline was Direct Drive. Direct Drive takes data from Masquerade and transfers it to the target creature, in the case of Avengers: Infinity Warfrom Josh Brolin to Thanos, by creating a mapping between the actor and the creature.
The mapping includes defining a correspondence between the actor and the character, including how different elements of each unique anatomy align. How is Direct Drive any different from normal retargeting?
Because we are not relying on a FACS based rig for the final performance. They map between frames of Digital Brolin mesh to Digital Thanos mesh with correspondence and then, and only then, they resolve that "Clip facial info movie personal remember" back to an animation rig so the animators can tweak and adjust it.
It is a reverse of the normal process. This is also a key
Clip facial info movie personal remember for Digital Domain to add a level of additional animation input to ensure that the performance is portrayed as accurately as possible on the character and is in line with what the director wants. Clip facial info movie personal remember
The process is designed to allow animator input. While the starting point is the most direct transfer of performance, the very nature of the different skull and shape of Thanos' face means that the character animation team is still vital in delivering the essence of what was done on set originally by Brolin.
The tools provide what is mathematically correct, but just as with lighting, there is a 'correct match' and then there is the most effective delivery, to tell the story. For the final delivery of the performance the shot is passed on to the animation group led by Animation Director Phil Cramer, to do the fine-tuning and make any director-driven changes. Cramer and his team are always able to reference the earlier stages in the process and quite often would view side by side clips of Brolin with Thanos.
It really becomes critical to turn around that many shots, and without the tools, just doing it with key-frame would have required a tonne more people and effort, so this has been really a huge step forward for us" he adds. One of the tools the animators had control over was a skin slide over the muscles of the face, but the team did not adopt much in the way of flesh simulations on top of what was captured naturally.
Marvel felt that even if Thanos was just standing, to keep him alive there needed to be small muscles firing, flexing and moving In addition to the animation,
Clip facial info movie personal remember team worked hard on the shaders, lighting and technical compositing of their character pipeline. Even with the animation capture process above, the final model of Thanos still needed Clip facial info movie personal remember level detail sculpted.
Here the team used some photogrammetry scans of Brolin to reference pore level detail and add it to the Thanos model by hand in Z-brush. Chris was the first person to jump on to Thanos and really treat his look.
The team rendered in V-Ray for all of their work. Part of the challenge for the character was getting the color of his skin right. The team had a small maquette that was photographed on set, but each lighting environment provided its own challenges. The team decided yes and made sure Thonos was modeled with stubble and as much human vellis hair as possible. This was based on the theory that the more they could make Thanos familiar to an audience in detail, the more photo-real his skin was, perhaps in ways few people would even noticethe easier it was to sell the giant creature as real.
As a result he has stumble over his head, and this helps break up the specular highlights and provide ultra high detail in the closeups. The team did not deploy digital blood flow on Thanos, "given his coloring, I just don't think you'd see it as much.
Where you really see that kind of stuff is during extreme expression. We have done that before, and I think we might if we are lucky enough to work on him again.
I'd like to incrementally try and introduce that again if possible", commented Port. Hendler agrees that for the next version, Digital Domain would like to bring more expression based, blood flow "Clip facial info movie personal remember" coloring into play.
Our look dev team have just done beautiful work in that area" explains Port. The lighting in the opening Loki death sequence was one of the most successful from Port's personal point of view, as the partially destroyed space ship allowed the team to position fires and lights in such a way as to maximize the impact of each shot.
This was in comparison to the final end fight sequence or in the flashbacks below where the lighting was dictated by the sky dome and more natural lighting. Weta's shots were concentrated around the fight on Titan, and separate from Digital Domain's work.
It is a testament to the overall visual effects supervision and direction of the film that the two Thanos' looked and behaved in such a unified way. The pipeline at Weta was different from Digital Domain, and while the two companies worked together very positively, technically they were completely separate.
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This test sequence was completed by Digital Domain ready for the first day of principle photography. In the test above, the image markers dots on the face of the actress can be seen to produce a fairly smooth or low frequency mesh , this is then enhanced with more details including wrinkles to produce a high resolution final output. Cambodian midget fighting league video. Another complex sequence was when Mantus is on Thanos' shoulders.
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