Graphics Reference
In-Depth Information
Figure 5.14
Frozen in air in
Like a Rolling Stone
.(c
1995 Partizan Midi Minuit. All Rights
Reserved.) (See Color Plate VI.)
turned around the “frozen-in-air”Michel Gondry. This was precisely the solution
he was looking for, so he decided to use the technology in the
Like a Rolling Stone
video.
After the work on “Like a Rolling Stone,” BUF created various artistic ef-
fects in Hollywood films using IBR technology. BUF extended their IBR tool set
to the problem of performance capture in the movie
Arthur and the Minimoys
,
directed by Luc Besson [Besson 06]. Even though it was a CG animation film,
Bessonwantedtodothedirectionusingreal actors. At the time, translating an
actor's performance into 3D animation data was typically done using an optical
motion capture system. However BUF used a different approach. They captured
the live actor's performance from many different angles using a set of carefully
placed calibrated cameras
(
Figure 5.15
)
. A set of “multiview” photographs are
thus captured for each frame. The 3D pose of the actor in every frame of the
multiview sequence can be recovered using stereophotogrammetry. This captur-
ing method later came to be known as “video motion capture.” A great advantage
of video motion capture is the increased freedom for both the actors and the sur-
rounding environment. Since 2008, its use in major Hollywood movie production
has quickly spread. At SIGGRAPH 2008, several papers were presented that pro-
