Production
Production began with the 3-D modeling of our star character and Christmas miracle-maker, Gerald the Gnome. (We can’t recall how we landed on Gerald but now find it odd we overlooked the more obvious name, Gerome the Gnome.) Replicated to mirror a stuffed decoration, every detail was crafted with precision. With every knit fiber and textured hair of his beard, Gerald was brought to life.
Building the model is only half the battle. We rigged up a complex skeletal structure allowing him to move; even his beard and hat were rigged to seamlessly flow with his motion.
Combining video with special effects brings an added layer of complexity to a shoot. To simulate movement of the objects Gerald interacts with, the crew got crafty with fishing line, dowels, and a certain level of contortionism to stay out of the cameras’ frame. Masking and digital painting were later used in editing to complete the illusions. To ensure Gerald would match his surroundings when placed in each scene, multiple 360° exposures were taken throughout the shoot to capture lighting data.
Post Production
Motion capture gear and our resident “stunt double” helped to develop Gerald’s movement. Unfortunately, Gerald’s gnome-like proportions made it difficult to use the collected data as intended. Every step, gesture, and tilt had to be carefully adjusted to ensure Gerald’s movements felt natural for a round bodied gnome.
To create a sense of realism, Gerald needed to feel grounded in his shots. We carefully matched each of our virtual cameras with the angle and location of our real-world camera. Even the camera settings were replicated, right down to the focal length and aperture.
Lighting
Once the animation was complete, we added lighting to ensure Gerald matched the surroundings captured on video. This included the use of our on-set 360s that we captured previously, with additional lighting to help us cheat the shot. Each of Gerald’s scenes were rendered on our render farm (multiple times) to ensure a perfect match.
Rendering/Compositing
Each of our rendered frames is made up of multiple passes, including color, lighting data, and shadows. Each layer was carefully composited together on top of the original footage. After masking dowls and painting out the fishing line, final color correction completed the shot.