Creating a New Legacy for Tron
DD additionally rewrote internal tracking software to allow simultaneous stereo camera solve and also incorporated V-Ray for the first time into the feature pipeline, adding to the shader development and allowing artists to launch renders more easily."What is carrying over immediately is our stereo workflow," Barba suggests. "This show had to get that first pipe up and running. How we fix stereo issues and deal with the workflow is now being used on Transformers: Dark of the Moon."
Still, there is no getting around the difficulty of trying to recapture Bridges in his prime, even if he is driving the performance. The physiology is different. "Trying to get Jeff's performance on set was ideal for Jeff but maybe not the most ideal thing as far as our needs in terms of the number of cameras to position around him and lighting," Barba offers. "But it allowed Jeff to get into character and be Clu with the other actors. We had EA in Vancouver helping us on set with the cameras and tracking the data and handing it back to us, which we ran through our solve. That part of the system worked great. We have ideas on how to get better cameras that weren't available when we shot, and how to get better results next time. But we're happy with the results."
Now they await the assessment of their peers.
"For me, besides the obvious challenges we had with the Clu character, I hope people will see the artistic challenges we had along with the technical challenges," Barba concludes.
Bill Desowitz is senior editor of AWN & VFXWorld.