Is he a nice bloke? Well, we have been guests in each other’s homes, attended countless social functions together and generally enjoyed each other’s company and respected each other’s talent. He’s certainly versatile (I had the pleasure of directing him, in his on-camera incarnation, when he played his death scene in Peter’s KING KONG remake). The discussion on this page seems to be focusing upon several points. We hung out on and off set, rafted together through the Waitomo Glowworm Caves, worked together on set during the live action filming (occasionally with me directing scenes Peter Jackson and I had prepared together), all the while on the trail of the elusive Gollum. Ruapehu location in 1999 and began theorizing about what Gollum was all about (while Gollum was described as “schizophrenic”, I viewed the character as a drug addict trying to re-connect with his supply, a tack which Andy endorsed). My name’s Randall William Cook, and I was the Director of Animation on the LORD OF THE RINGS trilogy. But so far I have seen nothing from anybody who was in the trenches and actually worked on Gollum, so I suppose it’s time I weighed in on the matter. He has his detractors and defenders, among them animators and motion capture editors, people who have met Andy and found him a nice bloke, people who are interested in the art of animation or the in art of acting or in both. Here is Randall William Cook:Īndy Serkis has been throwing the term “Digital Makeup” around again, and causing some pretty fervid reactions as a result. So, after hearing for years from Serkis about the process, let’s turn it over to the other side: the animators. It just gives it an extra feel of reality. ![]() That’s what kind of gives motion capture, in a way, a very strong spatial relationship, really, because all those incidental moves – slightly kind of tripping or falling, or things an animator wouldn’t necessarily think to put in – that’s what motion-capture’s fantastic for. either basically roto-scoped over my exact movements – if Peter liked a particular take, he’d get the animators to literally paint frame by frame over my exact moves and my facial expressions and everything – or, using the second take with them acting to the void where I once was, I’d then go back in post-production, which is basically all of 2002, to do motion-capture… he whole thing about motion-capture is it is highly sensitive to breath… to any kind of incidental movement. And while it’s true that Serkis was not using the term ‘digital make-up’ during those films, he was already downplaying the role of his animation co-workers and, intentionally or not, misrepresenting the collaborative nature of the process. Cook makes clear that the technology has evolved since he worked on those films and that the process may be different today. By far, the most informative comment was provided by 3-time Oscar winner Randall William Cook, who was the animation supervisor/designer at WETA on the Lord of the Rings trilogy that was released between 20.Ĭook’s description of the process of working on the character of Gollum is even-handed, specific, and, to my knowledge, the only first-hand account I’ve read from an animator who has worked with Serkis. ![]() Our post on Andy Serkis’s inflammatory rhetoric about the limited role of animators on his motion capture performances generated a robust, often heated, discussion in the comments.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |