"I
was originally inspired to create “Smile” after a class
field trip to the set of “The Polar Express” in spring 2003.
I was completely fascinated by the motion capture process
and wanted to somehow utilize the same technology on my
student film. I spoke with Ken Ralston, the visual effects
supervisor of “The Polar Express”, and asked all about the
technology used on "The Polar Express". He explained
to me the tools, techniques and companies involved in making
the film.
I
then wrote letters to the companies involved such as Vicon
and Gentle Giant Studios. Each graciously responded and
helped me achieve my goals.
The
3D laser scanning of the characters was all done at Gentle
Giant Studios in Hollywood, California. The physical model
of Smile was placed on a Cyberware 3D scanner which scanned
several passes of the object at different angles. The data
from each scan was then combined to create a 3D representation
of the character on the computer.
All
of the motion capture was recorded at ViconPeak, in Lake
Forrest, California. At the motion capture studio, the actor,
Joel Moffett, put on a suit with about fifty sensors and
performed all of the acting in the suit. Twelve cameras
surrounded Joel on the stage and recorded his performance
from every angle. The data from each camera was then combined
to create three dimensional movement files which were later
applied to the digital characters.
|
"I
was completely fascinated by the motion capture process
and wanted to somehow utilize the same technology
on my student film."
- Chris Mais
|
I
then worked with award winning composer Cody Westhiemer
who wrote an exhilarating score that brought feeling and
emotion to the film. This score was then performed by a
45 piece live orchestra at Capitol Records in Hollywood.
Watching the musicians play the score brought tears to my
eyes. It was so astonishing to see so much musical talent
come together in one room. The orchestra was made up of
the same musicians that play for almost every feature film
in Hollywood. They were all working with Randy Newman on
the score for Cars the previous week.
--Chris
Mais ,
NOV 2006
