THE MATRIX RESURRECTIONS PRODUC T I ON .
(as he’s referred to by cast and crew) as an elegant, abstract and fluid character. We did some proof of concepts – effects tests on how he would move. We realised that for him to be a main character captured up-close, delivering convincing dialogue, he would need to settle into a more humanoid form and be less ethereal. Then the audience could relate to him and understand him visually,” reveals Evans. “We decided his ball bearings should solidify into a more solid surface, depending on where his focus is. So, if he was having a conversation with somebody, the back of his head would be animated, and his face would be solid. Similarly, if he was to extend his arm and shake someone’s hand, his arm would solidify and come together for a nice, solid handshake, then become fluid again once it relaxes.” Multiple witness cameras were used to capture the performance. Yahya Abdul-Mateen II, who plays Morpheus,
viewers. Evans explains, “When we did our simulation of the ball bearings, they were reacting to his muscles and skin, particularly around his face. To capture all of those subtle movements, it was important that we went through all of the character build steps before we got to the effects-driven stuff.”
wore full head-to-toe body tracking, so that the team could get a reference for contrast and shapes in greater detail. DNEG then treated him as they would a normal CG character, doing muscle and skin simulations to provide an underlying layer of reality and physicality – even though none of this would be apparent to
“Yahya Abdul-Mateen II, who plays Morpheus, wore full head-to-toe body tracking, so that the team could get a reference for contrast and shapes”
BRINGING IT ALL TOGETHER The dojo stage (above) was completed with DNEG’s work, to create the full scene (left)
27. MARCH 2022
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