Day watch. movie
03.01.2006

Download SD HD
Credits:

Director:
Timur Bekmambetov

Studio:
TABBAK
Bazelevs production

ULITKA:

VFX Producer:
Angela Petrosyan

Art-director:
Evgeny Barulin

VFX supervisor:
Evgeny Barulin

Animation supervisor:
Michael Bazhutkin

R&D director:
Dmitriy Robustov

Digital compositors:
Dmitriy Simonenkov
Sergey Zadorozhniy

3D artists:
Andrei Emelyanov
Stas Basko
Dmitriy Shumkin

Modelling:
Iliya Vostrov

Animation:
Denis Alymov
Eugene Gittsigrat

Design:
Mariya Trepalina
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Scene: Crashing car

From a material for CGTALK.RU site

In this scene after punch the Dark flies away and runs into the car which jumps aside and breaks. On a set two shots have been filmed: shot with punch to the real person, and the shot in which the doll similar to the person, runs into the car – an old rusty automobile foreign car. In edit these plans should stand nearby.

Video: draft edit – animatic – final result

In shot with a doll we had to clean cables and replace "scrap metal" on beseeming to Dark "cool car". And here has rushed: in the beginning we have suggested to insert not sedan but a jeep. The Jeep has one feature – at blow in its roof something heavy (let even black), he behaves not so beautifully. It was necessary to work to our animator – Eugene Gittsigrat. As a result the car is effectively rumpled with all its stuff and not jumping away for shot edge on kilometer. It became clear further that the person-doll behaves a little not humanly and, most likely, it is necessary to substitute a doll with animated CG-character and to project on it a real texture. It has turned out that the scene became almost completely artificial, and has been solved to make back with snow not real too, but restored with projections from several cameras. Now it was possible to move the camera somehow.

As we didn’t want to deceive ourselves with hope of the light future, logical continuation was Timur’s desire and his command to sew two plans in one. Here we have faced an illumination problem – shots have been lighted a little differently therefore the projection to a CG-doll at approach to the car didn’t coincide with really filmed beginning of shot. It was necessary to restore the facture and illumination, plus to do hair then to mix them with a projection. By the way, for hair was used our own growing system. It is universal enough (you would see size of various parameters in attribute editor). Except hair it can generate stones, a tile, a roof tile, trees, cooperates with dynamics, particles and many other stuff. It is interesting that the car should be unlike for known models. Therefore the machine looks a little clumsy – Ilya Vostrov has introduced details of the majority of known marks of jeeps in it.

Scene: Crashing of banket hall in "Cosmos" hotel

It has been shooted a lot of material on set but the definitive idea of this shot was generated (or was reformed), probably, strongly later. So our primary goal was to adjust available material to Timur’s idea.

Video: source material - final result



Such idea: the sphere which is started by Egor, starts to breed as a virus – quickly and inevitably. It has turned out that in very short time the quantity of malicious balls turned into a continuous stream, is more exact a wall destroying all on the way.
The material from shootings, unfortunately, had not so awful destruction so it was necessary to experiment. In the beginning we have collected a heap of layers and have chosen "flyers" which most adequately react to external influence. In process we even had the specific slang designating those or other characters. Dima Simonenkov, Kolya Malyshev and Serega Zadorozhnyj collected a multilayered pie of event from material slices – several tens layers reached. Some people should be collected from different doubles. For example, in the ending of the plan there was a person who falls from a chair – his body was from one double, and feet which jump out from under a table, from another (it is possible in general different people). After that we have added destruction of columns and a dust. Reference wasn’t searched long (Keanu Rivz with his girlfriend have worked well). For better appearance columns have made of concrete though they are covered by metal. By the way, we have made a dust with hardware render – it is most realistic and that the most pleasant, quickly simulates a dust. For optimization of work with them our lead-animator Misha Bazhutkin created preset with ten parameters and scripts for management of dynamics of a dusty cloud. Producing in a place such warheads, it was possible to dusting fast.

In parallel flight of balls simulated. Here was other problem – at that speed at which these balls should stitch all through, they couldn’t be noticed. Even much slower balls slipped not noticed, or were lost in fragments and people. Denis Alymov very long subtilized both with the camera and with animation. Have as a result thought up to start them in small groups, in which the eye reads periodic structure, and here they were showed at once.

Further we began to add different small "gratefulness" – blood from people, salad and splinters from a salad dish, bottles and also a heap of lovely features. In general, despite visible obscurity, work was very long and laborious. In my opinion, almost all people in Ulitka have put the mouse to this scene. By the way, then these shots also have mercilessly accelerated, so, I think, you will see a salad only on frame-by-frame watching on DVD.

Scene: Glass falling onto Anton

As a matter of fact, this scene consists of three independent parts under the production technology:

1. Flight of a virtual sight of Anton upward and then falling splinter has flown downwards.

video: animatic

video: turning glass into a guiliotine

It is very dramatic shot. Here it was necessary to make, on the one hand, very correct and realistic flight, on the other hand, pressure and artistry of flight of glass should increase with each second. Therefore, for example, the glass splinter form in each shot differs – for giving dramatic sense. In lateral plans with glass close up there was a problem – glass was lost when flying against floors and stones. After discussion with Timur, we’ve decided to refuse in general insertion of real floors or 3D imitations. Planes simulating patches of light from lamps have been made only. Also Andrei Emelyanov and Misha Bazhutkin have worked over animation of a hurling back of splinters from glass, so, that it looked dreadfully (and visible – differently why to do it?).

From technical features there are flying stones and a dust from above. They were generated by emitter specially developed by us which allowed to simulate enough big stream of particles from broken edges. There it is a lot of the cunnings reffered with optimization of rendering speed and management of a direction and speed of a stream.
It has turned out so that test animation has been quickly confirmed, and we have solved to not re-render already rendered layers, and to continue to add new details on layers – this approach has rescued a lot of time further to us as a result. So, for example, in the end of production we have learned that there should be many holes from Egor’s spheres in walls. Therefore we simple rendered them separately and inserted into walls. And as by this time with all particles and details was rendered very long - re-rendering of all sequence would be beyond our hardware. Besides, layers helped us to shine separate floors – dynamic light has been adjusted, counted on layers and imposed right at the end.

2. Shots with the dust flying and stiffened in air and splinters.

video: dynamic illumination in separate layer

Basic work here was to hit in color, light and dynamics. The large dust and stones have been made with the same plug-in, as in flight. In several shots it was necessary to say lies and insert stones and a dust there where it can’t be. The fine dust has been again made with the help of hardware particles – very quickly rendering and looks well after correct adjustment. By the way, in color channels of particles it is possible to set different parameters, for example: life time, speed, distance to the camera etc., and then, using them, adjust a dust in 2D.

video: stabilized chinees bullet-time, on which seen quake of head and hands and way to remove this quake

In a scene where we are flying around the trinity – Egor, Svetlana and Anton (Chinese stop-motion), after stabilization became appreciable small trembling of hands and Svetlana’s head. It was necessary to expose a dust and stones so that at journey they at the moment of trembling blocked it. And in a scene where Anton leaves for edge of shot, camera has appeared static. As a result, what we did, the picture looked awfully – it seemed, that dust and stones were not weigh in air, and we simply had got dirty scan. I have tried to imitate movement – proportionally shifted layers one concerning another thorugh depth. It has appeared that it is quite enough of it. We even didn’t re-render particles in 3D at all.

3. View on hotel "e;Cosmos"e; break upwards from below.

Video: animatic, given from Bazelevs

Video: wiraframe and final

Main problem – to show powerful destruction of wall in very short time interval. We have decided to operate in complex – have divided a break on two parts. The first – a break, the second – cut-off and flight of large splinters. For purpose of entering in short edit timing, it was necessary to say lies in dynamics of splinters – they were accelerated much faster, than should, but, flying down up to us, were slowed down. In such cases it is always important to choose an animation rhythm. Unfortunately, because of some problems we weren’t finish this shot to wished in time – for last 4 days it was necessary to recustomize all render and re-setup layers of almost all 2D-project.