Deep Dive into the VFX Behind "The Revenant" / Before & After CGI Breakdown
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The Revenant tells the story of a fur trapper that is mauled by a bear and then robbed and left to die by his companions, but he survives, and proceeds to trek 200 miles to exact his revenge. Most people think that The Revenant was mostly shot "In Camera", and this is not surprising, considering that's how the movie was promoted. But the truth is, that The Revenant had a huge amount of VFX work done. The irony of this being that the VFX were done so well, that they could claim they didn't exist. Industrial Light and Magic and GradientFX were lead VFX houses on this film, with MPC and Cinesite stitching shots together and providing the battle scenes at the start and the end of the film.
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ShapeShifter
Secret lab is GradientFX's sister company and focuses mainly on Feature films and research and development, and they were responsible for over 30 minutes of footage.
Their work involved the creation of dozens of CG arrows, various CG snow effects including blizzard simulations, the addition of trees and snow to the original plates, as well as object removal and clean-up work. but perhaps their most impressive work on this film, is the least talked about.
For a man who had been abandoned in the wilderness with no food, DiCaprio's body just wasn't thin enough, Secret lab overcame this by using a proprietary tool they had been developing and using for over 8 years. This tool is called the "Shapeshifter" and was originally used in the films "Cloud Atlas" and "The Host" for changing eye colors, by tracking the eye and adding a 3D iris, but it has since evolved. The tool is now capable of analyzing the motion of a face or body part, how it moves and stretches, to create metadata in 3D, basically creating a "Motion Capture" using the actual source camera footage. Artists can then access this in Maya, adjust and reshape one frame and it recalculates back, using the footage, and reshapes the body part. any change made to that frame will be inherent throughout the whole shot.
Battle Sequence
MPC was tasked with the opening battle sequence. For this sequence the director wanted one continuously running Photo real "Real-time" sequence.
This meant that the majority of plates had to be shot under similar lighting conditions to avoid continuity issues, they achieved this by only shooting the plates during the "Magic Hour" and so the shot had to be filmed over a period of two weeks, very carefully choreographed and shot with multiple cameras.
MPC then had to take all these shots and seamlessly stitch them together.
Using a combination of techniques such as retiming parts of a plate, rebuilding sections of the image with other takes of the action and with a 2.5D projection onto a model. MPC managed to reduced the initial over 100 shots down to 39 extended shots.
CG Animals
ILM did a huge amount of CG animals, the Elk, the Buffalo, the Wolves, and the birds were all CG. The horse was a combination of real, mechanical and CG and the Bear and cubs were 100% CG too.
In order to ensure the lighting of the CG animals was correct, animals were brought in on set and used as a lighting reference, and when shooting the scenes where the CG animals would appear, they shot lots of environment spheres, plates of skies in addition to standard gray and mirror balls.
The Bear fight scene was perhaps the most complicated scene in the film.
ILM were working on this scene with the idea that it had to be continuous, up-close and messy.
Using a video they found online of bear attacking a drunken man in a German zoo for reference they began to work with the stunt team on how to move Leo around and where to grab and pull him to simulate where a bear would bite him.
To create the Bear ILM took photos of Coola and Grinder, two grizzly bear at Vancouver's Grouse mountain wildlife sanctuary to use as reference.
Set Extensions
Cinesite delivered 138 shots which was approximately 38 minutes of film. Cinesite's work is spread all over the film and mainly consisted of creating fluids transitions between shots, and seamlessly stitching shots together to eliminate cuts, they also did set extensions, character animation, digital matte paintings, fluid and particle FX simulations, CG trees and cleaning and compositing.
One continuous sequence they did do was the end battle which was about 50 shots and was split between their Montreal team and their London team...
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