WRITTEN COMPONENT ENTRY District 9 fxguide notes
The handheld digital camera work resulted in considerable match-moving work for the visual effects people. Image Engine Producer Stefanie Boose noted, “There was a huge amount of camera tracking involved. Actually, there almost wasn’t a single locked off shot for us, which really added to the grittiness of the filkm”. The studio utilised PFTrack, Equalizer, Boujou (3x tracking) and Silohette (paint – roto work).
Grey mocap suit provided good lighting reference. Director, Neil Blomkamp knew the importance of capturing HDRI imagery (some laser scans were taken of the environments in Africa).
At times Blomkamp was content to duplicate the mocap suited actor’s performance exactly, and other times the performance was altered to tone down the actions of alter the emotional weight i.e. aggravation. The animator’s added some very ‘sharp’ movements and ticks that human actor could not achieve; they could simply not move that fast. Motion Capture Supervisor (Animatrik Film Design) Brett Ineson commented that, “It was kind of a guerrilla way of working – we’d shoot a lot of mocap but then throw out half of it and decide to keyframe it if that worked better for the shot. “They felt it was important that the aliens movements were not perfect; some would limp, others would appear to have physical impediments.
To integrate the aliens into the scenes a HDRI pipeline and lighting rig that could be applied to both the exterior and interior environments was developed. Nuke was used for the compositing for the reason that it had good 3D functionality as well as other tools that matched the look of the other media in regards to grain and noise.
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