Remington expanded the motion capture pipeline from being used as cycled animation for Massive simulations to a powerful real-time system for shot specific actions for the immense amount of capture work needed. Once approved, the timing of the selected takes were given to the motion editing team. At the end of the session all video was delivered to editorial for Peter Jackson to cut into scenes. All the imagery, as well as audio, was recorded at a playback station into Quicktime clips. Remington was r espons ible for supervising capture production, designing workflow and implementing methodologies that defined Weta Digital as a performance animation facility capable of the highest caliber of quality.īecause the sessions were recorded in real-time, the data was piped into a real-time compositing solution that integrated plates and 3D environments. The fact that Gollum was a disproportionate biped / quadraped with long arms and legs oversized hands, feet and head and stood three feet, ten inches tall added to the challenge of targeting the source data accurately. The mandate from Peter Jackson was that he wanted to direct Gollum in real-time, a request that has never been achieved before in feature film production for an all computer generated character.
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