October 2012 [CG]
Location hunting in Europe
I think most people have gone to the states so was easier to imagine the place but what about Europe? I am not talking about places like Paris but poor countries in Eastern Europe. I think we all have different images about Europe.
When making the previous film there was no time for location hunting but for this project it was possible so I suggested that we go. Also, my previous work required me to stay in Poland for two months so when working on the screenplay I had the image of the city in mind. I wanted the members to have similar images. I wanted Director Doi to join me for location hunt but he was busy with ongoing project. I went after reading the scenario so I already had a rough picture. So the trip helped me build upon that.
We traveled to Ukraine for location hunt. Since we were not familiar with Eastern Europe the photographs were good reference. Sometimes it’s difficult for a Japanese artist to express the feeling of Europe so we asked a studio in Europe to help us on some of the parts of the background. We also passed the reference to the studio so that we could have the same image in mind.
CG production workflow and staffing
The staffs knew what I wanted so it was easy for me to work with them.
Having said that, many of our members were from the previous film so I believe they understood Director Kamiya-san's intentions which also led to bringing up the overall quality.
About the workflow
The background came out last minute but I was happy with most of it and the color was great. As a result it went well that way.
I have to apologize for the tight schedule…
Motion capture and facial capture actors
The characters are basically English speakers so we hired actors from Hollywood and shot the film in Japan. Regarding action scenes, we used Japanese stunts. They usually create video conté to check the action scenes and this time we used it for 2 sequences.
Reflecting previous work and new challenges
The expressions and cloth simulation in the previous film was rigid. Reflecting on those, we worked especially hard on them. I also wanted to add more personality in the expressions and I think we have succeeded in bringing out a lot more emotions from the characters.
When working with realistic full CG film it’s like a cat-and-mouse game of technology and progress. I think that is the hardest challenge.
The realistic look
Director Kamiya-san was particularly concerned about military weapons and he wanted to follow the actual models so in the end they turned out to be very real.
Other than Leon and Ada, characters in the film are all original and to make them look like people from Eastern Europe was difficult and we followed his advice for the realistic look.
In relation to the game
The weapons in the full CG film and the game are not necessarily in relation. The previous film required the use of weapons that appeared in “Resident Evil 4” but this time there was no need to follow the game so I chose the weapons based on reality and my own preference. But the latest game allows users to choose from a larger collection so at the end there were some weapons that appear in the game.
Since the production time was short, we had to work on several things at once.
Since compositing and rendering were happening at the same time, compositing took some time. When I saw 400 cuts remaining, I thought I would not finish.