BEOWULF Conquers the World Made at Sony Pictures Imageworks, Robert Zemeckis's New Film Captures the Imagination of Global Audiences in Its Opening Weekend and Beyond Digital Production Studio Gives Moviegoers A Multidimensional Experience



    CULVER CITY, Calif., Nov. 21 /PRNewswire/ -- The critical and box
 office success of Robert Zemeckis's latest motion-capture animated film,
 Beowulf, made at Sony Pictures Imageworks, confirms that movie-going
 audiences are seeking new and improved experiences on the big screen.
 
     Beowulf, which opened first at the domestic ($28.1 million) and
 international ($17.3 million) weekend box office and is poised to have a
 strong showing over the Thanksgiving holiday weekend, is the most ambitious
 computer-generated animated film ever produced. Driven by both the
 director's vision and by visual effects technology, it was the artists at
 Sony Pictures Imageworks who brought the characters and worlds to life on
 screen in both 2D and 3D formats.
 
     "As a leader in visual effects and character animation, we are thrilled
 that audiences came out in droves to experience Robert Zemeckis's Beowulf,"
 said Tim Sarnoff, President, Sony Pictures Imageworks. "We are in the
 business of innovation and we were delighted to again work with Robert
 Zemeckis to raise the bar of what is possible in visual effects and
 animation."
 
     Inspired by the 9th century English epic poem, Beowulf's all-star cast
 includes Ray Winstone, Anthony Hopkins, John Malkovich, Robin Wright Penn,
 Brendan Gleeson, Crispin Glover, Alison Lohman and Angelina Jolie.
 
     To bring Zemeckis's vision to the screen, Imageworks animators started
 by drawing data from their own Imagemotion(TM) capture system using
 performances by the film's talented actors who donned special "motion
 capture suits." The actors' motion sensors were then photographed with an
 array of 240 special high definition infrared cameras. A team of 40
 tracking artists then spent months matching whose-elbow-dots-are-whose,
 resulting in a 3D digital map of each of the actors' movements for the
 entire film.
 
     These skeletons were then married to the already designed characters in
 the computer, who move with the actors' original motion. But that's where
 the technology steps aside and the artistry begins. "Motion capture is not
 just a matter of putting the data through the computer and getting the
 animation automatically," says Imageworks Senior Visual Effects Supervisor
 Jerome Chen. "There's a significant amount of artistic decision that has to
 be made. The timing and intent of the scene has already been sketched out
 by the actor, and it's the animator's job to make sure that it comes across
 onscreen as intended."
 
     Giant steps have been taken by Imageworks, even in the short three
 years since they worked with Zemeckis on his 2004 Christmas spectacle, The
 Polar Express, to bring even more realism to the facial expressions of the
 characters -- both for humans and creatures alike. One hundred and
 twenty-one reflective dots were applied to the actors' faces during
 production, photographed simultaneously with the body by the Imagemotion
 system, to capture as much of the actors' expressions as possible.
 
     Crucial to bringing the audience into the characters' emotional world
 is, of course, their truly realistic eye movement, captured by another
 Imageworks innovative technique called Electro-Ocularography (EOG). "It's
 adapted from sports medicine, where electrodes are used to measure the
 electrical output from muscles in the face of the actors as they move,"
 says Chen. "We use it to help the animators see how much the eyes move,"
 capturing the "saccades" humans do -- the little searches and glancing
 about which naturally occur while listening or sitting still.
 
     Another subtlety of the animators' work is that done by artists who
 create the countless textures -- be they on skin, cloth, hair or items in
 the background. "All of those textures that you see, on stones, on trees --
 even razor bumps we put on the men's skin -- are all painted by someone,"
 explains Chen. "The realism that the audience experiences comes from the
 incredible amount of detail that we add into each scene."
 
     All of those details are made yet more visible to those experiencing
 the film in 3D, which was intended from the get-go. Zemeckis and Imageworks
 take full advantage of the 3D experience, bringing the whole world into the
 audience's lap -- literally.
 
     For past 3D films produced by the digital production studio, Imageworks
 Stereographer and 3D Digital Effects Supervisor Rob Engle and his team
 would produce the right-hand "eye's" image after the left eye image was
 completed. But for Beowulf, the 3D artists began working almost
 simultaneously to create the complete stereo picture viewers enjoy in such
 formats as IMAX 3D, REAL D and Dolby 3D at theaters around the country.
 
     One might wonder, with all of the effort involved, between motion
 capture, texturing and animating -- why go to all the trouble to produce a
 film based on motion captured performances by actors, instead of just
 filming real people in costume and inserting them into a computer-generated
 (CG) background, as has so successfully been done in many recent popular
 fantasy films?
 
     "Robert Zemeckis wanted to take full advantage of the creative freedom
 of CG, and the tools Imageworks has created, to portray Beowulf's world as
 he envisioned it," Chen explains. "Using this method of production means
 the characters and the environments they're in can all be cut from the same
 texture. It gives continuity to the look of the film that you can't get by
 combining live action with CG backgrounds. The audience is never taken out
 of the experience and never wonders where they are. They are in the world
 of Beowulf."
 
     About Sony Pictures Imageworks
 
     Sony Pictures Imageworks Inc. is an Academy Award(R)-winning,
 state-of-the-art visual effects and character animation studio dedicated to
 the art and artistry of digital production and character creation. The
 company has been recognized by the Academy of Motion Picture Arts and
 Sciences with Oscars(R) for its work on Spider-Man(TM) 2 and the CG
 animated short film The ChubbChubbs!, as well as nominations for Superman
 Returns, Monster House, The Chronicles of Narnia: The Lion, the Witch and
 the Wardrobe, Spider-Man(TM), Hollow Man, Stuart Little and Starship
 Troopers. Imageworks continues to raise the bar in the visual effects and
 character animation industry, becoming a major force by providing leading
 edge technology to its world-class artists.
 
     Imageworks is a division of Sony Pictures Digital Entertainment, which
 oversees the digital production and online entertainment assets of Sony
 Pictures Entertainment.
 
 
 

SOURCE Sony Pictures Imageworks

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