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When you are working at this level

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of computer generated bearer

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enhancement involvement

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there is a lot of planning that goes on

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and mainly that because of the technical

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requirements of doing what we do.

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Let get Eva in there just
to frame it up properly.

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Keep going.

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My relationship with the director is

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to look at what is happening

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in front of the camera,

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and make sure that I can make
that work with the effects

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that we add to the animation
that we add later on.

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So that means, when the actors
have to hit a certain mark

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that they have to have
a certain eye line

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I have to be there very very closely

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with the director to make
sure that happens.

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So it’s good for three plates.

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Get these three plates.

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We got like that coverage.

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If we got that coverage…

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When I begin my day
I have these story board

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pages which show every scene.

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And the elements
of the scene are all listed

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like this one is live action set,

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plus Computer Graphics,

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plus camera lock off,

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plus pink composite

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all in this one scene,

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which will shot later today,

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so every little bit.

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And this thing have been drawn

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and drawn and drawn

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and redrawn over and over and over.

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Let’s go to the board.

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Where is the board? Where at?

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Guys, I need the entrance
cleared up again.

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Where is our board gone?

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I think that we are missing
direct connections.

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I mean we never have
the complete direct connection,

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we don’t have to over shoulder
them seeing shadow.

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Exactly.

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It’s not a matter of remembering how

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the cigarette was in the previous take

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and its all these elements like,

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for instance, we were

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shooting scenes, called flakes,

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which is the background
with nobody in it.

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And then we go
and add the people

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which we shoot in front 
of a green screen.

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So that’s the way we
can make them glow.

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Do special effect and
all that sort of thing

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and then install them
back in the background.

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They have to exactly relate.

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We have to measure
the angle of the camera,

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get the exact same lens,
exact same camera position,

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hopefully exact same move,

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which means we use this
electronically control camera.

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When was the last time you
saw him go down on his knees?

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Yeah, he is going to go down this time.

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You enjoy this process?

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This I don’t mind at all.

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It’s like a permanent exam though.

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So, I would say, you are getting hit.

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This is good. This is concrete.

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This is like brain,

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and brains have properties

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and I can understand all
that noble thing is,

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I don’t know, if you
photograph the green screen

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but when you are all alone

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in front of the green screen,

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imagining everything happening.

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That’s really though.

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There are bits of sets,

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there is a lot of smoke,
a lot of dry ice

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and everything
is computer generated.

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So you don’t really
know what it’s like.

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So it’s up to the boys
in the back room

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who is either going
to make or break.

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You are really in their hands,
so you have to trust them.

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This is Kai, one of our heroes

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and his essence or his aura

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is being sucked out of body

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by the bad guy - by his shadow.

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So David is working on
the animation of the aura

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itself to make sure it looks more nebulous,

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more gaseous, more dangerous.

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What Clod has done is add lighting effect,

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so as the aura is going around it is lighting,

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relighting, hitting the whole set with highlights.

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And you can see what he is doing:

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he is affecting different areas

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and he is also affecting the actor

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and the intensity of the aura
going behind the actor -

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he is backlighting the actor.

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So the things like that really
sell the effect in the scene

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as opposed to something just
thrown on top of the scene.

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This is the other end
of the spectrum where

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this is all completely
computer generated.

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And this shot is conceived -

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it’s born, lives and dies in this room.

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This is moth.

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This is static model;

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we also have a computer generated
model of the same thing.

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People fly around inside
the Lexx in the moth

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because in the dark zone it’s great,

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organic insect kind of World.

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They live, and work,

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and travel in bugs.

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The reference for a lot of the vessels

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has been more insect to it.

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Being from the south there

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is a plenty of bugs down there.

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I brought this up so
I have a good reference

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for textures, materials
and coloration.

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This pattern is based on

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a southern female black widow.

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This is equivalent to a destroyer,

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this is something I’ve been waiting

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most of my life to work on,

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and there is no kidding about that.

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I think the overall caliber of

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all the animators involved,

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the fact that we were given

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a creative license

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and that the product
itself is so novel.