00:00www.mesmerism.info
00:04So this is our main meeting room in the studio
00:06and this is where we shoot everything for Hellblade.
00:15It's quite a departure from how we normally shoot stuff
00:18on our previous AAA games like DMC or Heavenly Sword or Enslaved.
00:23For them we went out to places like Giant Studios or Weta Digital
00:27where they also shoot big movies.
00:30Usually we'd have a crew of about 20 or 30 people on set
00:32so we'd have multiple actors, a few camera operators, a couple of video editors
00:36and all the technical and support crew that you need for a major shoot.
00:41For Hellblade we're doing this on a much smaller budget
00:45so we've had to improvise.
00:48So an example is these poles that we use to support everything.
00:52These are normal IKEA poles, wardrobe poles really.
00:57and we've mounted onto them these office slides that we bought off Amazon
01:01for about 20 quid a pop
01:04and up top here we have the Vicon Bonita motion capture system.
01:09So these are low-end systems which are fairly cheap.
01:12We have enough to capture one actor in a fairly big space
01:16and so that's why in Hellblade we're focusing on just Senua as a character.
01:46and we're also capturing voice as well as face and body
01:50we need to soundproof the place.
01:52So for that we bought these curtains and they dampen most of the sound in the room
01:57so they're pretty good for that.
02:00And what I'm standing on here is regular gym mats which help dampen footsteps and sounds.
02:07and as they're white they also reflect light back into the room.
02:14This is a rig that we produced.
02:17It's a regular GoPro camera and attached to it is an LCD display.
02:21and so I would move around the scene and just capture live with video what's going on.
02:28So I've got a good idea of the framing and because the camera's got markers on it
02:32every nuance of the camera is being captured with the scene.
02:37Although we only have one camera and one camera operator
02:42we felt we could use this to our advantage by having only continuous shots without cuts in the scene.
02:48and this gives a feeling that the viewer is an observer like a presence watching Senua throughout.
02:55So it informs the style of the storytelling.
03:21For me I've always found that video reference is the best way to capture live on set.
03:26because what you're interested in is the performance.
03:29You have to trust that the technology behind the system will represent what you're capturing in video.
03:36So this is a helmet provided to us by Technoprops.
03:41And you can get different configurations of these kinds of things.
03:44So you can have like four cameras or a mono camera.
03:47but we felt like two cameras offered the best compromise between the quality of the capture
03:52and it just being lightweight and comfortable for the actor to wear.
03:56Because what you're trying to do is to capture as natural a performance as you can.
04:00So the more stuff that gets in the way of that the harder that becomes.
04:06It's actually the audio equipment that turns out to be the most expensive part of the setup.
04:11So this is an example of the microphone that we would use.
04:15And we would mount it just here above the head.
04:18That way it stays out of the way of any breathing sounds.
04:21And the quality is good.
04:26You get a little bit of humming and noise.
04:28But that's stuff that you can always clean up.
04:31And over on this side we've got a handy microphone.
04:34So because we're capturing everything all audio live.
04:38We can't shout out directions or play music.
04:41So often we would pre-record VO and director notes before the actual scene.
04:46And then play back using these wireless headphones.
04:49So both myself and the actor would wear these.
04:53And you can hear the VO and pacings that were recorded.
04:57What is she looking at?
05:00What is she leaving behind?
05:04It's not too late to get into the boat and go back.
05:07No one will judge her.
05:10No one will ever know her.
05:12And in terms of crew, we only really need three people on set.
05:17Someone to look after the audio.
05:19Someone to look after the mocap.
05:21And then myself directing.
05:24And of course the actor.
05:26You are surrounded.
05:29Trapped like an animal.
05:30Hiding in a dark colored pit.
05:35And now here it comes.
05:39In for the kill.
05:41Are you gonna let it slaughter you?
05:43Then get off.
05:45It works.
05:46We're capturing face, voice, body and camera motion.
05:50All at the same time.
05:52And all of this we've produced for a fraction of the price we would normally spend.
05:56So for about the price of a smart car.
05:59The.
06:05The.
06:07The.
06:08The.
06:12Be.
06:31Grazie a tutti.
06:53Grazie a tutti.
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