Playing the hulking Beast, Stevens effectively performed his role twice. So sometimes we'll show them a quick preview of something, but we then let them actually focus on their performance instead of watching something. People tend to start to rely on it, actors start to change their performances, but if it's not accurate that's actually more harmful than helpful. These days it's even possible to render a rough version of the effects in real-time to show the filmmakers on a monitor right there on set, but Port and Hendler have reservations.ĭH: One thing we've noticed with real-time feedback is it's not accurate. Visual effects extended the already huge and sumptuously-detailed sets built for the film. We take a record of how the set was lit so we have a record of how to light a CG character like the Beast in the same lighting environment when we put all that together. KP: We take that information about what lens was used and roughly what the camera was doing. Where the set ends we would begin, matching the architectural style and lighting.Īlthough visual effects are added after filming, the team also have a presence during the shoot, advising the filmmakers, using LIDAR to digitally scan the dimensions of the physical sets, and recording what's going on in each shot ready for post-production. Even though the stages were huge, we would take the work that Sarah and her team did and extend that out. Kelly Port: Our production designer, Sarah Greenwood, did an amazing job with her team in building these gorgeous sets, like the ballroom and the foyer where they walk down the stairs before they go into the main ballroom dance. That's a lot of things to get right in one shot if you want to have that one shot look believable and not take you out of the movie.ĭigital Domain was also responsible for conjuring digital backdrops to the physical sets of the Beast's castle. And at the same time we're driving off this talking actor, trying to get this one-to-one transfer of the actor's face onto the character. He's got this long hairstyle that's flowing back down onto this cloak, and onto his body hair. Each of them have hair and threads and stuff on top of them, that are riding on his body and on his hair. He's wearing a cloak which is made up of hundreds of different shredded pieces of material and fabric. This character is covered in body fur and is wearing multiple layers of clothing riding on top of the body fur. The actor and the director worked on his performance in a way that would invoke the original, and we matched the actor's performance.ĭigital Domain's main task was creating the character of the Beast, a digital creation based on a performance by " Downton Abbey" star Dan Stevens.ĭH: The Beast definitely was one of the most technically challenging characters we've ever had to do. Visual Effects Supervisor Kelly Port and Digital Effects Supervisor Darren Hendler, who between them have worked on effects extravaganzas from " Titanic" to " Star Trek" and the next Marvel "Avengers" movie, worked to bring to life the beloved characters of the original film in a new form.ĭarren Hendler: We didn't go in thinking we were going to animate this Beast to match the original. To update "Beauty and the Beast" in the age of CGI, Disney recruited Digital Domain, the Oscar-winning effects company originally founded by James Cameron and Stan Winston in 1993. Out now on DVD, Blu-ray and digital formats, Disney's live action remake of its classic animated film is also at the cutting edge of eye-popping visual effects - so be our guest to find out how it was created. Not only is " Beauty and the Beast" a tale as old as time, it's also the biggest hit of 2017.
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