spiel­berg is no stranger to the world of visual ef­fects and he has made in­nu­mer­able steps for­ward in film­mak­ing tech­nolo­gies

3D Artist - - READY, SET, VR! -

a.i. ar­ti­fi­cial in­tel­li­gence (2001)

To help vi­su­alise the neon-lit re­sort of Rouge City, Spiel­berg en­listed ILM to de­velop an on-set pre­vi­su­al­i­sa­tion sys­tem so that the ac­tors could be filmed on blue­screen while the di­rec­tor could see an ap­prox­i­ma­tion of the CG set in the viewfinder. Such sys­tems are now com­mon­place now but this was a leap for­ward at the time.

the ad­ven­tures of tintin: the se­cret of the uni­corn (2011)

Spiel­berg part­nered with Peter Jack­son and Weta Dig­i­tal to bring Hergé’s comics to life com­pletely via vir­tual pro­duc­tion. The main ac­tors per­formed scenes in a mo­tion cap­ture vol­ume while wear­ing mo­cap suits and head-mounted cam­eras. Weta Dig­i­tal then crafted CG char­ac­ters and ex­pan­sive dig­i­tal en­vi­ron­ments, ef­fec­tively pro­duc­ing a fully an­i­mated film.

the BFG (2016)

Re-unit­ing with Weta Dig­i­tal, Spiel­berg re­turned to the world of mo­tion cap­ture with this adap­ta­tion of the Road Dahl story. A con­tin­u­a­tion of Weta Dig­i­tal’s past vir­tual pro­duc­tion prow­ess en­abled the di­rec­tor to rely on a simul­cam set-up to vi­su­alise the dig­i­tal char­ac­ter, played by Mark Ry­lance in mo­tion cap­ture gear, in both vir­tual as well as real sets in many scenes.

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