[情報] Go to sleep MTV
This link has some information about the "Go to Sleep" video
and how it was made.
http://www.mill.co.uk/engage_search_articles.php?id=1331
It's All Rocks That Roll In Radiohead's Latest Promo
Aug 05 2003 - Competing in the music industry is tough work.
Quite often an amazing promo coupled with a great track can
propel the song/promo package into the limelight. Radiohead's
fantastic new release together with staggering CG, completed
by The Mill for their music video, is such a combination,
destined for chart-topping success.
The video, Directed by Alex Rutterford of Black Dog/RSA,
features a virtually generated Thom Yorke performing the
bands latest release ‘Go to Sleep’.
The fully animated clip is set in a fictional, regency style,
town square. The promo opens on a red flower, the only colour
used in this largely monochromatic film. The flower moves
gently to the opening bars of the track as Yorke sits on a
park bench in the middle of the square. Office workers storm
past going about their mundane routines unaware of Yorke
sitting on the bench.
As the track builds up, the location begins to dramatically
transform. One by one the buildings surrounding the square
begin to self-destruct and turn to rubble. Oblivious to this,
the crowds of people continue to go about their daily grind,
unaffected by the falling masonry.
As Yorke’s performance builds, the strewn rubble of the fallen
buildings begins to reform itself into an almost Bauhaus style
of building - flat roofs, smooth facades and cubic shapes.
The historic and opulent regency style facade is replaced with
flat faced, concrete, modern architecture. Throughout this
transition people walk straight past buildings without noticing
a change, their route un-deterred, their focus directly on the
path ahead. The promo ends as it began with the camera pulling
back to reveal the red flower.
The style of the film is photo realistic in movement combined
with stylised polygonal faceted textures in look. Yorke is
therefore fully realistic in his performance, while at the same
time being a stylised version of himself. The buildings have
no real texture, yet the dynamics of their collapse mimic
reality and an actual demolition.
Around twenty Mill professionals, both 3D and 2D, worked for
approximately eight weeks to build and animate the final promo.
The process began with Director Alex Rutterford’s lo-fi CG
animatic, which entailed the video. The Mill team then used
this as a guide to build on, updating the animatic with the
latest scenes as they developed.
Along side this, some of The Mill CG team set about modelling
the various buildings, both old and new. In the mean time,
others were responsible for the animated characters that were
to inhabit the environment. These were split into two areas:
generating the crowd characters; and of course, Yorke himself.
Finally, all the CG elements were combined, lit and rendered
before various layers of CG were composited in flame to create
the finished film.
Yorke’s’s character was one of the trickiest and technically
difficult areas of the promo to complete. Once his stylistic
look was established, Thom Yorke himself was required for a
very technical shoot and scanning day. Firstly Yorke’s head
was scanned in several poses to generate a very accurate CG
model of his head. His movements and performance were then
captured using motion capture. The first part of the process
recorded his body movements, the second, concentrated on his
face, with Yorke wearing around seventy markers on his face alone.
This raw material was then combined and finessed using actual
video performance of Yorke and Radiohead, to create the
virtual but realistic performance seen by Yorke in the promo.
To generate complex crowd scenes, The Mill’s team were able
to use new beta software ‘Massive’ - originally designed
for the large crowd scenes in Lord of the Rings - commercially
for the first time. Massive allows the animator to generate
crowds of people that have virtual interactive intelligence.
Each character was initially animated using motion captured
walk cycles and movements. Massive then gives the individuals
their own little brains to detect such things as terrain,
so in this case the curbs and pavements. It also allows them
to detect other individuals, so allowing them to realistically
avoid each other. This means complicated interacting crowd
scenes of infinite sizes can be created. While several of
the periphery characters in the crowd scenes were hand
animated, Massive was used to generate the large groups
of people needed to fill the square.
Once the modelling of the buildings were complete, Mill
animators set about creating the dynamics to allow them
to be both destroyed then rebuilt in a different form.
Rutterford was keen to get a very realistic feel for
the buildings that were to break and crumble. Therefore,
the Mill CG team used reference material from real
demolitions and destructions as a guide to their animations.
They then created the deconstructions using a combination
of hand animation and computer dynamic simulations combined
with layered particle animation effects.
In lighting the final piece, the team used its in-house
written light dome shader, to give the film a very ambient
realistic lighting feel. This enabled them to create the
realistic shadowing and light fall-off seen in the film.
Extra details were also added to Yorke’s face in several
shots to create the low poly look created by a mesh
reduction technique. This was achieved using a plug-in
developed by Mill 3D’s R&D team.
The finished rendered animation passes were then combined
in Flame. Live action smoke and dust was composited onto
the buildings to enhance the illusion of them collapsing
and rebuilding. The flame team added drama to the darker
scenes by adding light emissions to the streetlights,
along with smoothing out the transitions from solid buildings
to cracked ones. They also finessed areas such as depth of
field and adding of subtle motion blur to Yorke’s movement
to enhance his performance.
The final touch that Mill Flame operators worked on was
creating the camera shake effect as the buildings collapse.
This significantly helped to increase the scale of the
impact and weight of the CG in these scenes.
The finished film is one of high audiovisual impact.
If Yorke’s realness both in form and performance
doesn’t absorb the viewer then the dramatic changes
occurring in the background bound to stir viewers’
emotions.
--
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