SHOOT STORY | WELCOME TO MARWEN
IMAGES Robert Zemeckis directs with two ARRI Alexa 65 cameras for Welcome To Marwen.
actors to act with. So we were able to put our cameras into the set. “The motion capture guys were able to equip our cameras with what we called little ‘sputnik’ devices, which were motion capture tracking marks that we put on our cameras top and bottom, so their motion capture cameras could keep track of where our physical cameras were going. They could then use that information to position their virtual cameras in relation with the virtual actors. We tried to give them as much information as possible, as early as possible.” CHOOSING THE ALEXA 65 It was clear from the outset that digital capture was going to be the only choice for principal photography, and Robert Zemeckis had previously used the Red Weapon cameras on several of his movies. “On our first meeting, Bob asked me what my feeling was about camera choice. I had been used to using ARRI digital cameras, but at the time the new Panavision DXL system had just come out so we decided to test that, and we also decided to test the Alexa 65. “The reason we went with the larger sensor Alexa 65 – apart from the pixel density, so an abundance of information for visual effects – was because we were creating this world in exactly the reverse way we shoot traditional miniatures, and by that I mean you’re doing everything you can to make the small object look bigger. We had the opposite problem: we had to shoot full-scale actors in full-scale scenarios in a way that looked like we were photographing miniatures. So the biggest thing for me was depth-of-field. “The more depth-of-field you have, the less illusion you have that you’re photographing miniatures. So we picked the largest sensor we could find to at least give us a starting point for visual effects, to artificially shallow the depth-of-field – the 65 is such a superior sensor to the DXL, both in physical size and the quality of the picture, not to mention the simpler Codex workflow that it works with. We ended up shooting with the Prime 65 and Vintage 65 lenses from ARRI. “The Alexa 65 is such a beautiful system and it’s why people shoot images in medium format; there’s a lustre to it that you don’t get with a smaller sensor. It’s also so forgiving on cast members’ features, and there’s just enough fall-off in the depth-of- field that the complexions even out.” WELCOME TO MARWEN WENT ON GENERAL RELEASE IN THE UK ON 1 JANUARY 2019.
A key moment in the movie was Hogie’s dramatic plane crash, which saw Framestore develop a digital P-40 warplane (based on photos of Creation Consultants’ miniature) and building the plane’s cockpit from scratch. “We created a hybrid asset,” says Arnoux. “The geometry is based on the one-sixth scale plane, but we used a lot of full-scale textures. The animators recreated the plane as if it were a full-size aircraft.” Flying at 250mph, the plane covered a lot of ground during the film’s aerial opening sequence, where roughly 20 miles of northern European landscape was laid out in full CG. The effects team filled the sky with scattered debris emanating from the plane, which was also simulated at full scale. When the aircraft crashes into the ground, the crumpling foliage, churned-up mud and flames were all brought to life in what was an almost entirely digital shot. “Our goal was for the audience to immerse themselves in a world that’s imaginary but rooted in reality. Being able to bring these two sides of Hogancamp’s life together in such a unique way was absolutely amazing.’’ Romain Arnoux, VFX supervisor The film is shortlisted for this year’s Academy Award for Best Visual Effects. DIGITAL P-40
We created a hybrid asset. The geometry is based on the one-sixth scale plane, but we used a lot of full-scale textures
28 DEF I N I T ION | FEBRUARY 20 1 9
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