3D conversion pipeline details of ‘Pokémon Detective Pikachu’.
Check out interview of Bhanu Prakash (Legend Stereo Supervisor).
What were your primary responsibilities while supervising “Pokémon Detective Pikachu”?
I was responsible for the overall creative supervision of the entire conversion process, at the same time maintaining the quality of work that goes through all the departments for a given project. I was actively involved in the inventory flow through the departments, communicating with client, and maintaining transparency in terms of expectations on the floor. Maintaining strict deadlines through the departments internally, as well as for the entire project was one more crucial element.
How was the pipeline structured, and what was the software workflow like?
All the shots go through Roto / Rotoscopy first; then from Roto to Depth Grading and clean plate dept where work happens simultaneously. After approvals from these it goes to Comp department for creation of final product using the output from these two departments.
We usually work on Silhouette, Nuke and other proprietary software.
Which were the most challenging sequences? How were they tackled?
The underground battle sequence (Pokemon’s fight club pit) and the Torterra sequence (jungle sequence) were two of the most challenging ones to work on. Both were VFX heavy, and shots were getting updates from vendors quite regularly.
We had to quickly move them through different departments and in 3D, if you see, we have compressed the background part and gave focus to more foreground stuff, which gave some breathing space to the artist and we could finish in time.
Any specific R&D done for this movie?
For the last movie credit sequence of ‘Pokémon Detective Pikachu‘, which we call MOE (main on ends), we were provided with the scripts from the vendor in Adobe After Effects formats with various plugins included. We had to install that software, export those in layers and then import them in nuke to work. We also had the CG models for reference.
What was the overall scope of work?
Overall scope of work for the movie was the entire 2D to 3D conversion (98 min approx.). We also provided stereo mattes for DI process which happened at EFILMS.
Check out the interview video: