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12-25-2002, 01:38 AM
http://www.msnbc.com/news/850165.asp?cp1=1
The refreshing thing about virtual cinematography is that it starts out with the genuine article. “We try to base everything on real actors and real objects,” says Gaeta. “It’s a very strong philosophical view that Larry and Andy and all of us share.” Here’s a gross oversimplification of how it works. Using five high-resolution digital cameras strong enough to pick up details like pores and follicles, Gaeta’s team will record an actor’s performance. This process is called universal capture, or u-cap. The team then feeds the information from all five cameras into a computer, and a complex algorithm calculates the actor’s appearance from every single angle the cameras missed. “Once we have the master performance captured,” Gaeta explains, “we can actually use it to create an event, like a martial-arts fight. But it could be anything.” Like, for example, a scene in which Neo flies at 2,000mph through a metropolis—which is what you’re looking at on the cover of this magazine.
The refreshing thing about virtual cinematography is that it starts out with the genuine article. “We try to base everything on real actors and real objects,” says Gaeta. “It’s a very strong philosophical view that Larry and Andy and all of us share.” Here’s a gross oversimplification of how it works. Using five high-resolution digital cameras strong enough to pick up details like pores and follicles, Gaeta’s team will record an actor’s performance. This process is called universal capture, or u-cap. The team then feeds the information from all five cameras into a computer, and a complex algorithm calculates the actor’s appearance from every single angle the cameras missed. “Once we have the master performance captured,” Gaeta explains, “we can actually use it to create an event, like a martial-arts fight. But it could be anything.” Like, for example, a scene in which Neo flies at 2,000mph through a metropolis—which is what you’re looking at on the cover of this magazine.