{"id":7267,"date":"2011-09-23T19:44:30","date_gmt":"2011-09-23T18:44:30","guid":{"rendered":"http:\/\/www.firedbydesign.com\/?p=7267"},"modified":"2017-04-28T10:58:49","modified_gmt":"2017-04-28T09:58:49","slug":"dust-to-dust","status":"publish","type":"post","link":"https:\/\/firedbydesign.com\/?p=7267","title":{"rendered":"Dust to Dust"},"content":{"rendered":"

Digital Domain has created an all-CG spot, \u2018Dust to Dust\u2019, for Gears of War 3. The digital production studio in collaboration with twofifteenmccann, Epic Games, and director Adam Berg, put the 60- second spot together using an innovative virtual production technique. This gave Berg complete camera control to shoot the spot like live action and deliver a cinematic showpiece for the trilogy\u2019s final chapter – a single time-lapsed take that traverses all three Gears of War (GOW) worlds.<\/p>\n

\"\"<\/a><\/p>\n

Gears of War 3<\/a>, the latest instalment of the blockbuster franchise for the Microsoft Xbox 360<\/a>, became available on September 20. Digital Domain has been a digital production partner to twofifteenmccann on all five commercials for the GOW franchise.<\/p>\n

Working with the agency and Berg (via Smuggler Films), Digital Domain VFX Supervisor Vernon Wilbert (who directed the GOW3 trailer \u2018Ashes to Ashes\u2019) devised a production process for wrapping the storylines of all four previous trailers into a single time-lapse story and realizing Berg\u2019s vision of a single-take feel from a hand-held camera. The result is a seamless first person experience of being alongside protagonist Marcus Fenix in GOW1 as the Locusts emerge, battling the Horde in GOW2\u2019s Jacinto City when the flood surges in, and facing up to a horrifying new enemy in the opening of GOW3.<\/p>\n

\"\"<\/a><\/p>\n

To begin the production process, Digital Domain first tapped Epic Games\u2019 3D library for assets from all three games, then re-rendered them to create preliminary pre-vis. Then, working in Digital Domain\u2019s new virtual production studio in Marina del Rey, Wilbert and his team provided Berg with the pre-vis and a virtual camera so he was able to go onto the stage and direct the movement of CG sets and motion-capture actors in real-time. As Berg moved his camera around, a pre-vis artist repositioned set pieces and built the set in real time, according to what Berg wanted to shoot.<\/p>\n

As Wilbert explained: \u201cAdam was trying to get an angle shooting down the escalators, for example, and we were able to rotate them until he was comfortable where it should be. When Fenix jumped down the escalator into the Badlands, Adam was able to tell us where he wanted the helicopter placed -10 feet away, or 30 feet away – and we\u2019d put it there – all in a matter of seconds.\u201d<\/p>\n

\"\"<\/a><\/p>\n

“Doing CG and traditional pre-vis usually means being two steps removed from the action,\u201d said Tom Wright, Director of Integrated Production at twofifteenmccann. \u201cYou\u2019re standing at a workstation asking someone, \u2018Can we move that there?\u2019 Can we try this with the camera?\u2019\u201d<\/p>\n

\u201cWhat Digital Domain set up was entirely different,\u201d continued Wright. Adam was able to get on set and see the framing for every shot, and more importantly, to manipulate it in real time, like shooting live action. It allowed the process to be about filmmaking, and not just moving things around in the computer.\u201d<\/p>\n

Unlike live action, the flexible virtual production process enabled Berg to shoot from any perspective he could imagine, without the need for cranes, jibs or dollies, instantly. And unlike traditional pre-vis where only one or two set changes can be accommodated in the typical two-week period, Digital Domain was able to make 12 changes to the set and more in the camera in just one day of on-set virtual production with Berg driving.<\/p>\n

\"\"<\/a><\/p>\n

On the creative front, Vernon and his team also applied their artistry to the complex challenges of time-lapse. \u201cTypically when you use time-lapse the camera is still or fluid. What we\u2019ve done is a hybrid \u2013 you see the staccato nature of the action, and we added trees and buildings that disappear over time, and had things shrink, decay and darken,\u201d said Wilbert. Digital Domain also created the sophisticated fluid effects in the Jacinto City flood segment.<\/p>\n

\u201cVirtual production emerged in the feature film world because it gives directors more options, more flexibility, and ultimately more choices for creating exactly what they have in mind,\u201d said Ed Ulbrich, EVP of Digital Domain and President of Mothership. \u201cExtending these capabilities to games and advertising is a logical evolution and the techniques are ideally suited to the project timelines and budgets of commercial production.\u201d<\/p>\n

\"\"<\/a><\/p>\n

Visit Digital Domain\u00a0<\/a><\/p>\n

Visit twofifteenmccann<\/a><\/p>\n

See more by Digital Domain and Mothership on Fired By Design<\/a><\/p>\n

View Spot<\/p>\n

CREDITS<\/strong><\/address>\n
Directed by: Adam Berg (via Smuggler)<\/address>\n
Agency: twofitteenmccann<\/address>\n
Scott Duchon: Chief Creative Officer<\/address>\n
Mat Bunnell: Associate Creative Director<\/address>\n
Steve Couture: Associate Creative Director<\/address>\n
Jeremy Diessner: Art Director<\/address>\n
Nicole Clainos: Copywriter<\/address>\n
Tom Wright: Executive Producer<\/address>\n
Chris Weldon: Producer<\/address>\n
Eric Rasco: Producer<\/address>\n
Peter Goldstein: Account Director<\/address>\n
Luke Lamson: Account Management Supervisor<\/address>\n
Stephanie Scott: Account Executive<\/address>\n
Production Company: Smuggler<\/address>\n
Adam Berg: Director<\/address>\n
Lisa Rich: Executive Producer<\/address>\n
Patrick Milling Smith: Executive Producer<\/address>\n
Brian Carmody: Executive Producer<\/address>\n
Production, Animation, Mocap, Editorial & <\/p>\n

Visual Effects by: Digital Domain<\/p><\/address>\n

Ed Ulbrich: President, Commercial Division; Executive Vice President<\/address>\n
Tanya Cohen: Executive Producer<\/address>\n
Vernon Wilbert, Jr: Visual Effects Supervisor<\/address>\n
Melanie La Rue: Senior Producer<\/address>\n
Chris Fieldhouse: Producer<\/address>\n
Richard Morton: CG Supervisor<\/address>\n
William Lemmon: Coordinator<\/address>\n
Todd Miller: Editor<\/address>\n
Zach Christian: Matte Painter<\/address>\n
Cody Williams: Motion Graphics Artist<\/address>\n
Niles Heckman: Previs Artist<\/address>\n
Derek Crosby: Technical Director<\/address>\n
Adrian Dimond: Technical Director; Rigger<\/address>\n
Ryan Apuy: Digital Artist<\/address>\n
Lee Carlton: Digital Artist<\/address>\n
Daisuke Nagae: Digital Artist<\/address>\n
Dave Carlson: Digital Artist<\/address>\n
David Liu: Digital Artist<\/address>\n
Desiree Lundsferd: Digital Artist<\/address>\n
Rick Glenn: Lead Animator<\/address>\n
Kevin Culhane: Animator<\/address>\n
Scott Kravtiz: Animator<\/address>\n
Jason Mortimer: Lead FX Artist<\/address>\n
Ken Jones: FX Artist<\/address>\n
Adrian Graham: FX Artist<\/address>\n
Rafael F. Col\u00f3n: Lead Nuke Compositor<\/address>\n
Aruna Inversin: Nuke Compositor<\/address>\n
Soyoun Lee: Nuke Compositor<\/address>\n
Jeff Heusser: Flame Artist<\/address>\n
Gary Roberts: Virtual Production Supervisor<\/address>\n
Gaby Rios: Mocap Production Supervisor<\/address>\n
Damon Shelton: Sr. Mocap Pipeline Engineer<\/address>\n
April Warren: Lab Supervisor<\/address>\n
Alia Dong-Stewart: Mocap Artist<\/address>\n
Ronaldo Benaraw: Mocap Artist<\/address>\n
Ryan Beagan: Mocap Artist<\/address>\n
Steve Madonna: Manager, Systems Admin<\/address>\n
Jenn Grundstad: Production Assistant<\/address>\n
Music: Mazzy Star \u201cInto Dust\u201d<\/address>\n
\n

Sound Design: Skywalker Sound<\/p><\/address>\n

Randy Thom: Supervising Sound Designer<\/address>\n
Randy Thom: Re-recording Mixer<\/address>\n
Leff Lefferts: Re-recording Mixer<\/address>\n
Mac Smith: Supervising Sound Editor<\/address>\n
Steve Boeddeker: Sound Effects Editor<\/address>\n
Sean England: Foley Artist<\/address>\n
Ronni Brown: Foley Artist<\/address>\n
Tony Eckert: Foley Mixer<\/address>\n
Corey Tyler: Foley Recordist<\/address>\n
\n

Mix: Lime Studios<\/p><\/address>\n

Joel Waters: Mixer<\/address>\n","protected":false},"excerpt":{"rendered":"

Digital Domain has created an all-CG spot, \u2018Dust to Dust\u2019, for Gears of War 3. The digital production studio in collaboration with twofifteenmccann, Epic Games, and director Adam Berg, put the 60- second spot together using an innovative virtual production technique<\/p>\n","protected":false},"author":129,"featured_media":7269,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[18,2242],"tags":[157,546,2250,2251,849,2249,2248,2244,2243,2245,2247,2253,205,2246,342,2252],"class_list":["post-7267","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-animation-projects","category-virtual-production-inspiration","tag-3d-animation","tag-adam-berg","tag-ashes-to-ashes","tag-camera-control","tag-digital-domain","tag-dust-to-dust","tag-epic-games","tag-gears-of-war","tag-marcus-fenix","tag-microsoft-xbox","tag-production-partner","tag-twofifteenmccann","tag-vfx","tag-virtual-camera","tag-virtual-production","tag-xbox-360"],"yoast_head":"\nDust to Dust - Fired By Design<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/firedbydesign.com\/?p=7267\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:title\" content=\"Dust to Dust - Fired By Design\" \/>\n<meta name=\"twitter:description\" content=\"Digital Domain has created an all-CG spot, \u2018Dust to Dust\u2019, for Gears of War 3. 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