WORKING WITH BABIES AND TODAY’S VFX TOOLS FOR HORROR COMEDY SERIES THE BABY

“The very nature of the time we were going to have a baby on screen and on set meant that a lot of things that we had planned would sometimes turn out perfectly without any help from us,” notes Braekke-Carroll. “On another occasion, the whole day might have to be completely changed and require our input for all sorts of reasons.” Identical twins were cast in the title role. “We really knew we needed a digital asset,” Akande remarks. “By casting twins, we were able to double our shooting hours. The babies quickly absorbed the nature of the setting and we watched them grow over the six months of filming with them. Digital doubles have been avoided as much as possible. “It’s left us with a weird, hybrid methodology over time, whether it’s face replacements from plates with a CG body, a standing prosthetic baby with a head replacement pushed in a pram, or a digital arm, plate head and prosthetic body,” says Braekke-Carroll. “There was also an army of substitute babies. In terms of performance with our twin heroes, it became a hybrid process where we used a combination of digital passes, input tools, reprojections, and face tracking from source plates. Then we also rely on the machine learning of the additional 2D layers to modify the performance.

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