A: Initially, I was a Lead Lighting Artist at Rainmaker Visual Effects and I was trying to hire a crew for my lighting department. It was really difficult to find anybody who was a decent lighter. To this day, I know that people who come trained from schools have learned three-point lighting, they've learned to use ambient occlusion shaders, and a host of other really antiquated techniques that are no longer used or necessary. The reason we used those techniques back in the late 1990s and early 2000s was because there were technical limitations with the hardware and software that have been resolved since.
The Memorial Candle Program has been designed to help offset the costs associated with the hosting this Tribute Website in perpetuity. Through the lighting of a memorial candle, your thoughtful gesture will be recorded in the Book of Memories and the proceeds will go directly towards helping ensure that the family and friends of Joan Wood can continue to memorialize, re-visit, interact with each other and enhance this tribute for future generations.
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The lighting of a Memorial Candle not only provides a gesture of sympathy and support to the immediate family during their time of need but also provides the gift of extending the Book of Memories for future generations.
Paterson, an industry vet, has been at Rhythm & Hues for more than 10 years. Her tasks as vfx supervisor on the Garfield/Prince characters ran from bidding to deciding how to shoot the effects and working out details with the director and dp, tracking the animation, lighting and compositing, and checking the film dailies. Its very busy during post. Production is actually relaxing; long hours, but the prep for the film is where the action is.
There was definitely action. Rhythm & Hues' scope of work consisted of 390 finalized shots featuring the 3D-animated Garfield and/or his alter ego, Prince, accomplished with a crew of approximately 280 people in the U.S. and India. Pre-production began in July 05 and ran through early November, and principal photography started in late August and wrapped in early November 05 as well. Post ran from early November till May, a very short turn around. There were four sequence supervisors in animation and four in lighting / compositing. Paterson worked with the supervisors while each managed a team of approximately 20 people. There were roughly 50 animators and 35-40 tech animators, 40-50 trackers and about 30-40 each in lighting and compositing. Rhythm & Hues used their own proprietary softwares: Voodoo for animation and lighting, Wren for rendering and Icy for compositing. An improved lighting / compositing pipeline for Garfield enabled them to make adjustments to color and lighting without having to go through a time consuming re-render each time, and a 2D motion blur in the comp stage significantly reduced rendering time.
At first, Rainmaker was relieved Winston (voiced by Bob Hoskins) was a short haired animal, since long hair tends to be problematic. But they didnt account for Winstons facial structure, with so many folds and attributes. They discovered Winstons panting made him appear to have a big smile while at other times he didnt, and viewing him from different angles or lighting completely changed his features. In order to make the facial animation work, Eberle had her team re-create Winstons face and key to a wrinkle around the top of his nose that folded into another wrinkle that described the corner of his mouth when he was smiling or breathing, or a marking on his lower jaw.
For that reason, it was often difficult to lock down the mood of the character. Eberles team spent hours tweaking the model, the folds and the lighting to make sure the facial animation blended with the real dog. Winstons real life counterpart wasnt always cute, either, Eberle adds. He had gnarly teeth and sometimes the folds in his face were not attractive, so an added task was to make him cute, yet photoreal.
Eberles contributions were hardly finished. With a barnyard cast of 10, she still had several animals to wrangle. From modeling to acting, and following the scene through lighting and compositing, she had to monitor all the animals at different phases of production, keeping track of the status of each. Working closely with CG supervisor Nick Boughen who had worked on the first Garfield, the team worked as a tight crew, seven days a week in split shifts, days and nights. There were also daily 11:00 am calls with Bailey, working remotely using Cinesync to view the files.
Renee Dunlop has worked in film, games and multimedia since 1993. She currently works at Sony Pictures in Culver City, California, and freelances as a Maya lighting digital artist and as a writer for several trade publications. 0852c4b9a8
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