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Wolf Mountain and Frankenwolf
The challenge wasn't just to build a believable wolf, but to build five unique wolves of extraordinary size and weight, to portray that mass often with little more than the surrounding trees as comparisons, create believable fur and humanesque eyes that weren't distracting. Nate Fredenburg, Art Director, helped to make sure those requirements were fulfilled, combining real-world attributes and CG magic.
"At Tippett Studio, we always look to real-life creatures for reference on how to design our characters, real or mythical. For New Moon, we had a special opportunity to travel down to wolf sanctuary in Southern California to observe wolves up close and personal. The key to looking at live reference is to form a knowledge base, study the creatures, their quirks and behaviors, the language between the pack. We looked for signs of what the creature was about and added those to the visual effects to make them believable."
The challenge wasn't just to build a believable wolf, but to build five unique wolves of extraordinary size and weight, to portray that mass often with little more than the surrounding trees as comparisons, create believable fur and humanesque eyes that weren't distracting. Nate Fredenburg, Art Director, helped to make sure those requirements were fulfilled, combining real-world attributes and CG magic.
"At Tippett Studio, we always look to real-life creatures for reference on how to design our characters, real or mythical. For New Moon, we had a special opportunity to travel down to wolf sanctuary in Southern California to observe wolves up close and personal. The key to looking at live reference is to form a knowledge base, study the creatures, their quirks and behaviors, the language between the pack. We looked for signs of what the creature was about and added those to the visual effects to make them believable."
Hair Raising
One of the key observations we made at Wolf Mountain was the complexity of the fur. From nose to tail the fur quality changes, prompting the painters to create a zone chart of the animal that divided the wolf up into fur zones; on the nose and the legs the hair was short and velvet, on the neck the mane was thick and long, belly clumped and long, the back more medium length while the tail was bushy. The coloring was not only unique over the length of the body, but the hair follicle had unique color ticking from root to tip.
One of the key observations we made at Wolf Mountain was the complexity of the fur. From nose to tail the fur quality changes, prompting the painters to create a zone chart of the animal that divided the wolf up into fur zones; on the nose and the legs the hair was short and velvet, on the neck the mane was thick and long, belly clumped and long, the back more medium length while the tail was bushy. The coloring was not only unique over the length of the body, but the hair follicle had unique color ticking from root to tip.
"Even with as far as computing power has come," said Fredenburg "it still is very difficult to accurately mimic real life, so everything we do to come up with our fur look is an approximation,
a cheat. It's not about replicating a wolf hair for hair; it's about getting the feel of a wolf. Even though we pushed 4 million hairs on this show, which is
twice what we normally grow, it is still not nearly the number of hairs a real wolf has."
A real wolf would have hundreds of millions of hairs but a digital wolf will only have perhaps four million, so some interpretation is needed to achieve the same effect.
To help achieve the fullness and fur realism needed, Aharon Bourland, Technical Art Director and Look Development, helped create Tippetts' in-house tool, Furator.
New Moon was the second Tippett
film where this tool was used. Similar
to Shake in that is uses a tree-based system, it allows for characteristics
of hair to be added via nodes, then merged back together for the final groom.
It was developed to be highly flexible and extensible, such as the ability to twist a group of hairs from the tip and leave the base alone.
Another very helpful addition was Scraggle, a tool that used a CV interp node that increased the number of CV's and resulted in a scraggled hair, then further adjusted so that the majority of scraggle was towards the base, creating the illusion of a thicker undercoat with smoother fur on top.
a cheat. It's not about replicating a wolf hair for hair; it's about getting the feel of a wolf. Even though we pushed 4 million hairs on this show, which is
twice what we normally grow, it is still not nearly the number of hairs a real wolf has."
A real wolf would have hundreds of millions of hairs but a digital wolf will only have perhaps four million, so some interpretation is needed to achieve the same effect.
To help achieve the fullness and fur realism needed, Aharon Bourland, Technical Art Director and Look Development, helped create Tippetts' in-house tool, Furator.
New Moon was the second Tippett
film where this tool was used. Similar
to Shake in that is uses a tree-based system, it allows for characteristics
of hair to be added via nodes, then merged back together for the final groom.
It was developed to be highly flexible and extensible, such as the ability to twist a group of hairs from the tip and leave the base alone.
Another very helpful addition was Scraggle, a tool that used a CV interp node that increased the number of CV's and resulted in a scraggled hair, then further adjusted so that the majority of scraggle was towards the base, creating the illusion of a thicker undercoat with smoother fur on top.
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