The two have to sacrifice themselves in the Cancerverse in order to do it. Now that Avengers End Game came out, the requests for the the effect are also back. 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. “It was the first day of shooting and we were in the trailer and it was Kevin Feige and these Marvel executives, along with the Russo brothers (the Directors) and Brolin. In the Thanos Imperative story-arc, both Star-Lord and Nova are having to defeat Thanos in a place called the Cancerverse. It does this using the new Masquerade software.“Masquerade is an all new proprietary application that allows us to capture facial performances with more flexibility and fewer limitations than anything we’ve seen or done in the past” explained Darren Hendler, Head of Digital Humans. It was one of the first sequences that Weta started with, and it involved Mantus pulling on three of four sections of flesh at the brow region. 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 freely, but this comes at the cost of less tracking detail. Parents might want to do this next step for their kids to avoid any kind of injury. “We are extremely cautious here, as there is a feeling that it can make the face seem a little jelly-like” he explaied.The plate photography was almost entirely green screen for Titan with a small but detailed section of the set, just around where the characters were fighting. Congrats to everyone! Their approach was focused on the getting the muscle system highly accurate so that it could match the micro movements of the face and thus provide the detailed performance accurately.Matt Aitken was in Atlanta for the live action motion capture on the stages. “There were directions with his muscles that we did not really account for in planning. 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 and Digital Domain both did Look-Development work on Thanos. The test showed the level of low key performance that could be carried through the pipeline.
This still meant that about 90% of the motion capture of Brolin was done on the film set, with the motion capture cameras and sensors built into the elaborate sets. They are used only by fxguide or the trusted partners we work with. Here’s how the gemstones should be laid out on the glove:Once you have the right placement correct, glue each of the gems to their correct spot. Since Avengers Infinity War came out we got thousands and thousands of request to do the famous Thanos disintegration effect. Before gluing your “Infinity Stones” to the glove, make sure you have the order precisely right. Each company saw progressive updates from the other but from rigging to rendering the solutions were implemented very differently. “It is similar to Masquerade in a way, we don’t rely on a face shaped rig to create the characters final movement. It still maintains all the high-res data already captured and ensures that we do not lose any of the subtleties of the actor’s performance” says Hendler.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. 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. 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. Thanos is the hero of his story, and the directors make sure we know that. It was clear from the test that small and informed choices would still read on Thanos’ digital face. How to make the lips read properly for the facial lips funnel shape and the pucker shape. – Texture supervisor together with Jeremy Buttell CG supervisor, did an amazing job. 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. 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 animation, we then built a specialized rig that transfers as much of the performance as possible to animation controls. 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. “Chris Nichols, who was our Look Dev. Josh Brolin was filmed on set in a motion capture type suit, but not always in a capture volume. This is done using simple text files called cookies which sit on your computer. 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.
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