SHOOT STORY | OUTLAW K I NG
Lidar Lounge did all of the 3D scanning for Outlaw King . They used their cyberscanning photogrammetry rig to create 3D models of all the actors and hundreds of background extras (see pictures) as well as lots of horses and dogs, too. This was used for the big battle scenes in the film to replicate vast armies. Their cyberscanning rig was set up in a marquee in the middle of the Scottish Highlands – during which there happened to be a hurricane visiting the UK. The team spent the whole night holding down the rig to make sure that it didn’t get blown away. They also did all of the set scanning, processing everything from huge environments, towns to castles and trebuchets, all during winter in Glasgow, so it was intense work. The Lidar was used for tracking the shots, building CG environments and for making now- ruined castles look as they would have done back in their heyday. 3D SCANNING FOR OUTLAW
O utlaw King is the untold true story of Robert the Bruce, who transforms from defeated nobleman to outlaw hero during the oppressive occupation of medieval Scotland by Edward I of England. Data specialists The Digital Orchard provided on-set DIT, lab services and video playback services for the film, which was shot last year in the late summer in midge- ridden Scotland – and its unpredictable weather. Sam Spurgeon from Digital Orchard explained the plan. “The director, David Mackenzie, and DOP Barry Ackroyd had agreed that they would always shoot through the ever-changing Scottish weather and not be waiting for cloud cover and the like. In terms of how hard it was I think the weather was certainly on our side, and I think some of the battles were even muddied up to make them feel a bit grittier than they were, although the midges at the end of August were particularly bad. It definitely wasn’t without its cold and wet days, and some of the more remote shooting locations meant four a.m. starts.” The main cameras were Panavision’s DXL1 as A, B and D, with a stripped-down RED Weapon as their C camera for use on specialist rigs like wire cam and Stabileye. There was a second RED Weapon as the E camera. On aerial unit days this set would be complemented by either an extra RED Weapon or ARRI Alexa Mini for drone or helicopter work. The DXL1 was used on the Steadicam rig as well. “Second unit was with cameras D and E, which were one DXL and one Weapon. Aerial units had a mix of cameras, including an Alexa Mini and another RED. I think the most cameras were seven including another
A stripped-down REDWeapon was the C camera for use on specialist rigs DXL, which came out for a Russian arm and for stunt sequences. Panavision were very helpful to us, especially when they knew we were shooting half way up the side of a mountain. They were great at helping problem-solve and getting us everything we needed, which included changing out battery hotswaps and SDI boards on the DXLs for upgraded versions. “Our other kit consisted of Blackmagic Design Smart Videohubs, Sony 17in OLED monitors, Apple MacBooks, Fujifilm IS- Mini LUT boxes, Tangent Ripple grading panels and Odyssey 7Q+ monitors (these
ABOVE Director David Mackenzie inspects the troops during filming.
16 DEF I N I T ION | NOVEMBER 20 1 8
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