The latest Homing Beacon has arrived and today we get to talk about how ILM rendered hundreds of Wookiees. With the common yet inaccurate phrase "it's all done on computers" spreading widely among moviegoers, people often wonder what makes computer-generated imagery (CGI) difficult or time-consuming. The computer is essentially creating an accurate simulation of the complex behavior of light interacting against a modeled surface. What makes CGI realistic is precise recreation of a light ray's particular bounce, refraction or absorption when it hits a given object. These calculations are done for every frame of the movie, often taking many, many hours per frame.
Organic textures with rough shapes and odd curves add complexity to the light paths, as do qualities such as translucency. When it comes to creating a furry digital creature, the realistic movement and sway of all those thousands of hair strands is taxing enough for the computer to calculate -- now consider adding that each hair is interacting with the light in a specific way, and reflecting and refracting light into its environment and surrounding hairs.
"It takes an awfully long time to generate hair for a lot of hero Wookiees," says Sequence Supervisor and Development Lead Patrick Conran, "and even with our most severe pipeline efficiencies turned all the way up, you've got a hundred Wookiees. It takes a long time before you ever manage to start rendering anything."
Before the Wookiee efficiency solution was cracked, ILM had to finish one shot for the November 2004 teaser trailer of a vanguard of Wookiee warriors charging from an embankment. "We had five practical Wookiee suits spread over four different shoots composited together, and we had to take that and add them into a miniature and digital matte painting background, and then generate our CG Wookiees behind them," explains Tim Fortenberry, Digital Effects Artist. "We rendered it the old fashioned way. It took something like 5,000 processing hours initially and a terabyte and a half on disc. So it was definitely not a good way to do the entire sequence."
The artists and technicians at ILM found a better way to create crowds of Wookiees to fit the already tight schedule of Episode III postproduction. "Looking at the concept art, we noticed that [Kashyyyk] was pretty overcast and there is pretty low contrast. We definitely used that to our advantage," says Fortenberry.
Rather than calculate the quality of light striking and bouncing off all the fur on their digital Wookiees for each shot and angle, ILM "baked in" a pre-set quality of light to all the Wookiee models. "We were able to do this without using any spotlights or deep shadows, which really made it much more manageable," says Conran.
Also helping speed the process along was letting a Wookiee's distance from the camera dictate the detail of the model. While the practical Wookiee suits were used for the closest of shots, the hero digital models had somewhere in the neighborhood of 800,000 hairs on their surface. The ones further in the background would have less, say 40,000 hairs. They'd be so small in "camera space" though that it wouldn't be noticeable, and it would speed up the computer's calculations. The ones furthest from camera had no hair at all -- they instead had thickened bodies with flat, painted hair texture on them.
Another time-saving technique had to do with the flexibility of the Wookiee models. After composing a shot with hundreds of Wookiee warriors, someone may want to change specific Wookiee characters. Rather than having to re-render the scene to accommodate a completely different Wookiee model, ILM built an "über-Wookiee."
"This model had all the variations built into it," says Fortenberry "It essentially puts all the changes to the Wookiee model at the very last step before rendering. So, if there are changes, there's no going back to Creature Development or the Animation Department. You'd turn on the features you'd want on the Wookiee, and dial out the ones you don't."
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