This method was used for 20 shots, with nearly 100 additional shots required for other split-screen work involving Hammer since they were unable to shoot at Harvard. Back on Flame, we composited the face we received from the 3D department."
For the pre-grade, using Maya, we projected footage from the Red cameras onto a cyberscan of Armie's face. We tracked Josh's face using PFTrack and then swapped his 3D face with Armie's.
TILTSHIFT SOCAL OFFLINE
During his performance, Armie watched the playback of the offline on the monitor wearing headphones Fincher gave very precise directions for Armie's performance it took 10-20 minutes per shot to capture. During evaluation, we analyzed the offline and determined main keyframe locations. In editorial, Fincher chose what take he wanted and we sent it offline to Lola. No HDR was needed: this takes time and can break the mood of the performance. We tracked about half a dozen dots on Josh's face. During the shoot, Armie and Josh acted normally. "We had the body double sitting in a dental chair with head restraint to minimize movement. We're able to shoot realtime, 24-frames-per-second, with four Red MX cameras running, using a stand-in to match the lighting of the offline.
TILTSHIFT SOCAL MOVIE
"We wanted to use the Red because the movie was shot on Red and it also gave us a higher res and better dynamic range. "So we developed a similar system using traditional lighting (12 kinoflo 400s and 8 bi-color litepanels) and DMX stage lighting software," Williams explains.
They first thought of utilizing Paul Debevec's Lightstage method, but it proved unworkable with the Red camera. To help with the face projection, Fincher enlisted Lola Visual Effects (under the supervision of Edson Williams), which worked on The Curious Case of Benjamin Button. In addition, to create the illusion of miniaturization for the twins during their dramatic loss in the famed Henley Regatta in England, the director recommended a new select lens effect based on tilt-shift photography. For instance, he suggested a "hockey mask" face projection method to create the illusion of the Winklevoss twins (both played by Armie Hammer), the arch rivals of Facebook founder Mark Zuckerberg (Jesse Eisenberg). Leave it to David Fincher to push the digital envelop ever so slightly in The Social Network with two simple VFX techniques to enhance his storytelling. Check out The Social Network trailer at AWNtv!
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