{"id":7456,"date":"2012-01-16T15:56:19","date_gmt":"2012-01-16T15:56:19","guid":{"rendered":"http:\/\/www.firedbydesign.com\/?p=7456"},"modified":"2016-07-01T11:10:10","modified_gmt":"2016-07-01T10:10:10","slug":"war-horse-vfx-on-the-front-line","status":"publish","type":"post","link":"https:\/\/firedbydesign.com\/?p=7456","title":{"rendered":"War Horse : VFX on the Front Line"},"content":{"rendered":"

Framestore was the sole provider of digital visual effects for Steven Spielberg\u2019s War Horse, delivering over 200 shots to the movie.<\/p>\n

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

The film tells the story of Joey, a horse born in Devon shortly before the start of the First World War. Belonging to \u2013 and beloved by – a young man, Albert Narracott, Joey is sold to the cavalry and shipped to France at the outbreak of war. Joey serves in the British and German armies, which takes him on an extraordinary odyssey, serving on both sides before finding himself alone in No Man’s Land. But Albert has not been able to forget Joey and, still not old enough to enlist in the British Army, he has embarked on his own dangerous mission to find the horse and bring him home to Devon.<\/p>\n

Directed by Steven Spielberg, the film stars Jeremy Irvine, Emily Watson, Peter Mullan and David Thewlis. The screenplay is by Richard Curtis and Lee Hall, based on both Michael Morpurgo\u2019s 1982 novel and Nick Stafford\u2019s stage version. The cinematography is by Janusz Kami\u0144ski, and the film was produced by Spielberg,\u00a0 Kathleen Kennedy Frank Marshall and Revel Guest<\/p><\/blockquote>\n

Spielberg decided to create his film after he and co-producer Kathleen Kennedy had seen the enormously successful stage version of the book. But while the theatrical telling involves the use of extraordinary horse puppets to bring the equine cast to life, Spielberg knew that a cinematic story would need to use a different language. For the big screen, Spielberg decided that only a \u2018realistic\u2019 approach would do \u2013 one in which as much of the action as possible was captured in camera, as it happened on location. He was aiming for a style such that the film might have been made half a century ago, in sympathy with its historical distance, so there is no modern \u2018tricksiness\u2019 on view. That said, Spielberg knew that the story would require a few feats that would be impossible to capture safely with a live animal, and for which only the very best digital equine doubling would suffice. Enter Framestore.<\/p>\n

\"Framestore<\/a>More than half of Framestore\u2019s 200 or so shots involved clean-up or similar work\u00a0 – vapour-trail removal, telephone wire removal and so on. More elaborate labour and skills were required to remove riders from horses or augment a huge field of reeds in which British soldiers conceal themselves prior to an attack. Just as challenging was the harrowing sequence towards the end of the film in which Joey, struggling through the trenches, is finally brought down to the ground as he drags a mess of barbed wire and a broken gate behind him: the horse was real, but the wires could not be. Finally, for just a couple of shots, digital horses were going to be needed \u2013good enough to trick the eye of Steven Spielberg.<\/p>\n

Ben Morris, Framestore\u2019s VFX Supervisor on the project, had an initial meeting with Kathleen Kennedy and Production Designer Rick Carter. \u201cIt went really well, I think,\u201d he recalled. \u201cThey quickly recognized that we could deliver everything they needed, from the mundane to state of the art CG animation. I should emphasise that the film Steven wanted to make had no place for self-conscious VFX shots \u2013 it was to be as real as possible, with any digital elements integrated invisibly in the service of that sensibility.\u201d<\/p>\n

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

US-based studio The Third Floor <\/a>did the pre-viz for the film, working closely and collaboratively with the Framestore team. With Spielberg\u2019s team having minutely prepared the ground, the director arrived in the UK for the 53-day shoot in August 2010 and, as Morris recalled, wasted not a second. \u201cAs a VFX person, you often find yourself waiting around on set a certain amount, but Steven and his team were undoubtedly the most professional filmmakers I\u2019ve ever worked with \u2013 we sped from one set up to the next with everyone knowing what they were doing and Steven knowing exactly what he wanted from each shot. And he was doing cutting work as he went.\u201d<\/p>\n

The genuinely collaborative nature of Spielberg\u2019s work ethic was further demonstrated later on during the shoot when Morris was given the opportunity to shoot a sequence with an additional camera team: \u201cWe went to do a few pick-up shots and showed them, a little sheepishly, to Steven on our iPads. He just said \u2018Great \u2013 can you go and shoot the rest of the scene?\u201d So – with a mixture of trepidation and glee – we did so.\u201d<\/p>\n

This was a sequence in which Joey is cornered by a tank and which culminates in his vaulting onto and over it to escape. It took a couple of weeks to shoot, and was one of the very few points at which a CG horse would turn out to be necessary.<\/p>\n

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

Continued Morris: \u201cWhen we brought the footage back to him, he suggested we might also provide input by preparing a rough cut of the shots, which we did. Christian Kaestner and I also collaborated on creating another shot for Steven, one involving a cavalry brigade \u2013 some 300 horses strong – newly arrived in France. We found a suitable location on the Duke of Wellington\u2019s estate in Hampshire, and used a Canon 5D to shoot test replication passes which we comped together and presented to Steven. For the final shot we managed to get a great sunset view of the horses. Throughout, we all felt privileged to be involved and trusted at this level.\u201d<\/p>\n

The trust continued during the five-month post production period, with Spielberg\u2019s on-set ability to make lightning fast decisions a vital element of the process. \u201cWhen we started delivering shots we were all a little nervous, I think,\u201d said Morris, \u201cBut we soon realised we\u2019d get immediate (and generally positive) feedback from Steven, and we grew in confidence.\u201d<\/p>\n

Spielberg remained adamantly opposed to the use of digital horses until the aforementioned tank-jump sequence. The shot as captured in camera simply wasn\u2019t working, a fact remarked on a couple of times by Spielberg during reviews. Morris put his team on it, and shortly after presented Spielberg with a new steed. Impressed, the director asked where the footage had come from and Morris finally revealed its digital lineage. With a shot that finally worked, the purist gave way to the pragmatist and Spielberg okayed it, to the team\u2019s relief and pride.
\n<\/p>\n

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

A digital horse was also used for a shot in a sequence that follows the tank jump, where Joey runs alongside a trench before attempting to leap over it, dropping short and crashing into the sandbagged side of the trench and collapsing down into it. The leap and crash were impossible to safely stunt with a real horse. Tank-jump and trench-jump sequences were Lead Animated by Stuart Ellis and Laurent Benhamo respectively, working under Animation Supervisor Kevin Spruce, and both spent much preparation time researching their horses in books, on film and even with a visit to the astonishing stage version.<\/p>\n

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

\u201cHorses are a very pleasurable thing to animate,\u201d said Ellis, \u201cThey move beautifully, they always look good. But in cycle animation there\u2019s often a tendency to over-exaggerate the up and down of the character and to not really communicate the weight, they\u2019re just too bouncy. We nailed that, I think, and also what we managed with the head \u2013 the pushing forward and out as they gallop \u2013 was great.\u201d<\/p>\n

The animation team used both Maya and Houdini to get their horses up and running.\u00a0\u201cThe big challenges were the necessity of absolute reality, and the level of detail that this entailed,\u201d added Benhamo. \u201cNostril flare, vein pulse, skin slide \u2013 it all had to be spot on. With such a small number of shots to develop, our Animation, Modelling and Rigging departments \u2013 working under the film\u2019s overall CG Supervisor, Mike Mulholland – were able to work very closely together throughout the project, and I think that shows.\u201d<\/p>\n

Another point at which the animation team\u2019s work proved useful was in supporting one of the compositing team\u2019s trickier tasks.\u00a0\u201cSome sequences, with elements such as explosives, legally require mounted horses, so removing the grey-clad riders was one of our jobs,\u201d explained Chris Zeh, Compositing Supervisor. \u201cThis obviously entails \u2018putting back\u2019 what they block from view, and if the camera angle is frontal this means the moving horses hindquarters. Several times we found we could use the walk-cycled CG horses as a 3D patch. In general, the CG shots were so well done that they didn\u2019t represent the biggest compositing challenge. Beyond superficial cosmetic work, some sequences required a real artistic eye to get them right \u2013 the \u2018reed sequence\u2019 is one example. The sequence was supposed to show many dozens of British soldiers hiding in this field of reeds, but they had neither sufficient reeds nor soldiers to make it work. Over nearly 30 shots we filled the landscape with reeds \u2013 not just 2D but 3D \u2013 and soldiers. And we helped fill the air with seeds floating from the reeds.\u201d<\/p>\n

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

One final sequence that de facto couldn\u2019t be shot for real was that of Joey\u2019s nightmarish final collapse, as he staggers through the trenches accumulating ever more barbed wire and other battlefield flotsam until he falls to the ground. Said Morris of the scene: \u201cWe shot it all one night, with Finder [the beautifully trained horse that plays Joey in many shots]. We shot the horse writhing on the ground, with a couple of tethers on him – all closely supervised by his trainer, of course – and during this we used a new, in-house developed, witness camera system that gave us extremely accurate body tracks, which were essential for the detailed CG additions we would make. We were then able to procedurally generate dynamic simulations of curling barbed wire around his body. It looks so convincing we were anticipating a call from the Humane Society.\u201d<\/p>\n

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

One final recollection from Framestore team members working on the project is worth a mention. \u201cAfter the initial meeting with Spielberg\u2019s team, I got in touch with Rick Carter via a mutual acquaintance,\u201d explained Art Director Kevin Jenkins. \u201cAfter seeing some preliminary paintings I\u2019d done for the project, Rick invited me to join his Art Department for the summer leading up to the shoot, which I delightedly did. Rick initially wanted me to concentrate on material that would help give a flavour of the time. I went for a sort of raw, muted, Paul Nash sort of look to those pieces, pretty grim in essence. But I ended up doing all sorts of work with them. Janusz [Kami\u0144ski, War Horse\u2019s Cinematographer] had an idea for a shot involving a pair of horses walking in front of flames. I painted this up, Steven saw it and suddenly it became part of the film, which was very gratifying, though the shot didn\u2019t make the final cut.\u201d<\/p>\n

Jenkins added: \u201cRick pushed me to use different media for my work, and showed me new approaches to inspire the looks I was after. The whole three month process was an invaluable education for me, and it\u2019s no exaggeration to say that it has changed the whole way we think about and present our work here at Framestore.\u201d<\/p>\n

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

\u00a0Visit Framestore<\/p>\n

See more by Framestore on Fired By Design \u00a0<\/a><\/p>\n

View War Horse Trailer<\/a><\/p>\n

Credits<\/strong><\/address>\n
Director Steve Spielberg\u2028<\/address>\n
Producers Frank Marshall, Revel Guest, Steven Spielberg and Kathleen Kennedy<\/address>\n
Cinematography: Janusz Kami\u0144ski \u2028\u2028<\/address>\n
VFX: Framestore\u2028\u00a0\u2028\u00a0<\/address>\n","protected":false},"excerpt":{"rendered":"

Framestore was the sole provider of digital visual effects for Steven Spielberg\u2019s War Horse, delivering over 200 shots to the movie.<\/p>\n","protected":false},"author":129,"featured_media":7460,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2254,2856,68],"tags":[2940,2337,32,409,2341,49,256,2340,2339,205,2338,2342],"class_list":["post-7456","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cinematography-inspiration","category-cinematography-and-film-production","category-vfx-projects","tag-animation-projects","tag-canon-5d","tag-compositing","tag-houdini","tag-live-action-stunts","tag-maya","tag-modelling","tag-rigging","tag-steven-spielberg","tag-vfx","tag-war-horse","tag-wire-removal"],"yoast_head":"\nWar Horse : VFX on the Front Line - 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=7456\" \/>\n<link rel=\"next\" href=\"https:\/\/firedbydesign.com\/?p=7456&page=2\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:title\" content=\"War Horse : VFX on the Front Line - 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