Press Forum Invitation: Framestore-CFC Compositors & TD's for 'Troy'

[Paul Moran]

Welcome VFXTalkers to the Press Forum. We are very excited to be given the opportunity to interview Andrew Whitehurst (TD), Andrew Chapman (TD) & Gavin Toomey (Digital Compositor); Framestore-CFC magicians for their work on Warner Bros epic - Troy

The way this 'Press Forum' works:

The Press Forum is a unique opportunity for you, our valued member, to have your own input into the interview process. As we are ALWAYS about learning in a community orientated way...this is another step toward giving you the best chance to learn from the pro's! To take part in this interview process you need to be a VFXTalk member, If you are not, you can register here for free

Once you are a VFXTalker, you simply 'reply' to this thread with your questions that you would like to ask, We will keep this area open for about 7 days or so.

Once everyone has had their say, we will compile a complete interview that will serve as the final. All too easy, and a great way to get the VFXTalk gang involved

OK, A little bit about each of these gentlemen:

Andrew Whitehurst

IMDB Filmography Link

Andrew Chapman


Andrew Chapman is a Senior Technical Director at Framestore CFC.
He has recently been the Lead Crowds TD for FSCFC's work on Troy. Other recent projects include the title sequence for James Bond: Die Another Day, and various high profile commercial spots.

Before joining Framestore CFC Andrew worked at Animal Logic Film in Australia as part of their R&D department during productions such as The Matrix and Moulin Rouge.

IMDB Filmography Link

Gavin Toomey

IMDB Filmography Link

Cheers all, hope you come up with some great questions!!

(BIG props go out to Aruna for lining this up...again )

[BadMange]

Thanks to VFXTalk.com for the opportunity to take part in the interviews!

What would you like to see on a demo reel from someone trying to get a junior or starting position (ie Newbie!) at the Framestore?

Thanks!
-Bad Mange

[marcboy]

Saw it last night. Really, really enjoyed the movie (my girlfriend hated it, though).

One question I already had while watching:
Were any, if not all the panoramic dawn/night scenes at the beach colour-corrected day-for-nights?

Also, about a minor detail: Did you deliberately add the very subtle, slightly darker, open angled wake (or whatever it's called) to the ships or was it a result of some fluid simulation. I was wondering whether ships really do this?

I'll probably come up with more questions once these first impressions have sunk in.

The press forum is a great idea. Thanks for making this possible.

Cheers,
Marc

[Hugh]

On a project like Troy, how much RnD does Framestore-CFC do? Do you mainly make use of off-the-shelf tools or do you develop a lot of your own (in terms of both 2D and 3D)?

[vfx]

Ok, I'll keep it simple with just the questions.

1. My main concern with the movie, was the camera work, although this is not specifically your arena, why were quite a lot of the panning shots so jittery? What causes this, and why was it allowed to pass through to the final film.

2. I noticed quite sudden colour changes during one particular battle. Was colour correction (in regards continuity) on this film a lot of hard work?

2b. The night shots looked specifically altered as though they were shot during the day. Why is this done, isn' that just laziness on the film crew? Doesn't that end up costing more money than simply filming at night with the correct lighting.

3. How many people on average are involved in a typical effects shot in Troy?

4. How many juniors worked on this picture at Framestore? I have just sent my application and showreel in - this would be a dream job - and would like to get an idea of the number of juniors working there.

5. Not Troy related, but do you believe in employing artists who know specific software which is not used at Framestore - knowing all too well that they would be able to make the transition.

Thank you.

[Aruna]

How many artists were involved?
Approximately how many shots did FS-CFC complete for the film, and which sequences were you responsible for?
What are your primary tools for creating the art and effects?

How did you R & D the flocking and crowd simulation software, and are they any details you can share with us on how it works?

[Hugh]

Originally posted by Aruna
How many artists were involved?
Approximately how many shots did FS-CFC complete for the film, and which sequences were you responsible for?
What are your primary tools for creating the art and effects?

How did you R & D the flocking and crowd simulation software, and are they any details you can share with us on how it works?

CFC didn't do the armies crowd stuff - that was MPC - CFC was mainly doing the ships.... (or was that what you meant?)
There's a great article over on vfxworld.com on the VFX stuff in Troy....

[Aruna]

Originally posted by Hugh
CFC didn't do the armies crowd stuff - that was MPC - CFC was mainly doing the ships.... (or was that what you meant?)

Yep. Just talking about the FS-CFC side of things.

[Oxide]

What was the most challenging shot to do, and why?
What software was used for compositing and how many artists were involved on an average shot?
What was the average time spent on a composite?

Great work, by the way!

[Cylibral]

Hey guys i have been an advid fan of your work . As a student and starting animator how would one get into the fx animator biz.. ? what tools are better to learn to get to be an fx td. I loved the shots in troy great work guys...

[cdinic]

At the first battle Achilles completes a running-Leap-sword in the back-Kill-Move. The sword seemed to sink a foot into the back of his foe. Who came up with this attack as a concept? How was it achieved? Finally, what were the most difficult aspects of this shot?

-Chris

[majik]

Hi Guys

Haven't seen it yet, but it looks pretty impressive, well done.

I have a question that is specificially for Gavin.

Most large post house have big I/O departments that handle all the scanning/recording and grading of material i.e. you do not have have to worry (too much) about vfx shots not matching shots around.

How would you tackle a shot in a facility without a dedicated I/O department, for example if the scanned files are supplied by a third-party. Would you also ask for non-vfx timed shots to help in grading your shots.

Any thoughts would be great

Thanks
Dave

[fin]

-Which fx shot did you feel ended up looking better than you had ever anticpated, and why?

-Is there a shot in particular that you felt you needed a little more time to enhance or rework?

cheers,
-fin

[BlackKnight]

For anyone or everyone,

1. When starting work on a really meaty shot, do you approach it as just another shot, or do you prefer to really understand the context and emotional state of it first?

2. How does the completion time of a shot, similar in stature, between an 'epic' like this and a smaller visual effects laden feature generally compare?

3. What was unique about working on this picture that sets it aside from other film work?

Congratulations on excellent work and many thanks for your time and willingness to participate.

(Thanks Aruna )

[stevenbray1]

It might be useful to outline the scenes that Framestore-CFC had responsibility for, is there anyway of doing that?

For example, as I understand it they did the boats and the beach landing, but NOT the beach battles?

We also have a question about Achilles stabbing the Thessalian Champion in the shoulder. I'm under the impression that Cinesite did most of the the shots creating a replica CG sword for Achilles?

I'm interested in the process of lighting, rendering and comping at Framestore-CFC?

What decisions were made to seperate the boats with their sails and rigging from the sea, with all the highlights and glare from the water surface.

What resolution were they working at, was it all 2k cineon files?

Was the comping in Shake or were other systems used?