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"If we wanted to, we could emulate real sun falloff and exposure and we put a virtual camera on it (the sunlight) to get the Newman then proceeds to detail some of the nuances that MPC brought to the plates that simulated environment and natural light, indicating the kinds of detail to which they worked. We didn't overwork the shots and we made sure that Jon's realism- and documentary-quest was backed up with Caleb Deschanel and Legato's visual sensibilities." Discussing the film's photorealistic visual language, Newman says, "Jon Favreau's modus operandi was 'don't fall into the trap where you over-beautify everything.' Sometimes the sky is blown-out, sometimes it's overcast and so on. When it comes to accessing and organising material to review, discuss and develop further, Newman explains, with a wry laugh, that "it's all about data management." When reviewing shots, "I can filter a clip by shot number or discipline or artist," he states. If a move was too exaggerated you could adjust it."Įnvironment shots were informed by research visits to Kenya (Image credit: Disney) (opens in new tab) You can correct just one part of a camera move.
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"If they shot something and weren't happy with part of a camera move," Newman explains, "they can now work just with layers. Regarding the flexibility offered by the virtual production approach, Newman notes that it allowed MPC and their team in Los Angeles to make the most minute and subtle adjustments. Newman explains that MPC built the assets that were then imported into the game engine, within which layout and staging were then determined. Of the virtual production process used for the project, Newman says, "It was fun to watch the filmmakers realise this freedom, that the physical constraints are gone." That said, the production would impose certain limits on creative choices in pursuit of consistent believability.
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This final shot showcases a live-action lighting sensibility applied to an environment and characters by MPC (Image credit: Disney) (opens in new tab) The volume of data being organised, shared and iterated between MPC and the production base in Los Angeles was immense.
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"It's quite challenging to work out how to manage resources," Newman observes, breaking down the scale of MPC's work on the movie. Additionally, at the start of the studio's work on the film, Newman would talk every day to lighting leads and to Legato.
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He would typically meet with two or three production staff taking notes, one CG supervisor and perhaps a lighting lead, for a series of regular agenda-based conversations. Newman explains his day-today schedule on the production. That teaser was 90 seconds of the opening scene, and every shot was a different location and involved different lighting conditions and was all done on a very rapid schedule." My involvement began with preparing a teaser, comprising 25 shots, for D23 which took place in August 2017. Of his schedule on the project, Newman recalls,"I started about two and a half years ago, in January 2017, and we did some pitch work and had conversations about the process of shooting approval. The Lion King, realising them as photorealistic animated characters (Image credit: Disney) (opens in new tab) MPC revisited the classic designs from the 1994