Daloc – The Robot
- Client: DALOC
- Agency: INGO STOCKHOLM
- Production Company: STINK
- Director: MISKO IHO
- Visual Effects: TROLL VFX
- Color Grading: HENRI PULLA
One of the biggest projects we’ve done to date at Troll VFX. Almost everyone at the office was somehow involved in the process and it really was a huge challenge for all of us, having never done anything quite like it.
My task was setting up part of the pipeline, especially when it came to figuring out the correct approach for tracking heavily distorted anamorphic plates. I was also responsible for much of the effects work as well as a bunch of miscellaneous tasks.
Tracking and rendering for anamorphic plates can be tricky. You have to undistort the footage, track it carefully, render with right amount of overscan and redistort the elements before you can even start compositing. It’s a bit complicated process and you have to be really careful, since one mistake made at the start of the project means a huge amount of extra work later on.
All of the smoke sims were my work. The number of iterations were quite high and we often ended up splicing together suitable pieces from different sims to create the final shot.
The wool went through a few different variations. It started out as a kind of a fur made in Yeti, but since the look the client wanted wasn’t achievable using that approach I ended up creating the effect with FumeFX. The wool is basicly a quick fluid sim frozen and shaded to look like thick industrial insulation.
The FumeFX sims I did for this project were some of the heaviest I’ve ever done. This made iteration slow, but having the flames so close to the camera meant we needed every voxel we could squeeze out of our workstations to get to the desired level of detail.
In addition to tracking almost all of the shots, I did the R&D for our new method for capturing HDRI’s used for lighting and reflections. Instead of using a cumbersome and slow rig with a traditional camera, we decided to try out a cheap new 360 camera called Ricoh Theta S. This tiny thing is so fast and easy to use, which meant our supervisor could capture the needed information in just couple of minutes without disturbing the rest of the crew.
For the last shot we needed accurate geometry of the hallway which I provided a by creating a 3d-scan based on photos shot by our on-set supervisor. No amount of measurements or photos can compete with the ease a good scan provides for us VFX-guys.