Resident Evil Damnation: The DNA of Damnation Page #2

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Yeah. In your dreams.

You seeing what I'm seeing?

Yeah.

It's like a beehive.

So you missed me?

Yeah. In your dreams.

You seeing what I'm seeing?

It's like a beehive.

I have some more questions for you.

Action.

It's been a long time, Leon.

What are you doing here?

I was about to ask you the same thing.

Did you release the Plaga?

Don't make me laugh.

What are you doing here?

I was about to ask you the same thing.

Did you release the Plaga?

Don't make me laugh.

We also have a facial mocap studio.

So once an actor is done

with regular mocap...

...we have the actor go

do the facial mocap.

Don't shoot. Don't shoot.

Hey.

My name is Ada Wong.

Great. Now I got

a cowardly lion to deal with.

- We got it down.

- Okay.

After doing the mocap,

we fix the camera work.

We determine the layout...

...what lines are to be said in a cut...

...and finalise the length of a cut.

When all this is fixed, we know

how each background will be seen.

We create the background accordingly,

tweak the lighting...

...and work on the facial expressions.

We did facial mocap

for Degeneration...

...but the data was not as fine

as desired.

We wanted to incorporate more...

...of the actors' facial expressions...

...as loyally and realistically

as possible.

But we prefer to call ourselves...

...pro-independence fighters.

Each actor has different ways

of showing expressions and nuances.

We construct rigs suiting

each actor individually.

The director wanted to exaggerate

some of the facial expressions.

We took that into consideration.

And we worked carefully with where

exactly the characters are looking.

That element is added here.

You people in the CIA

call us terrorists.

But we prefer to call ourselves...

...pro-independence fighters.

With everything going for realism...

...we simulated

the movement of fabrics.

If not simulated properly...

...the fabric will not show wrinkles

when bent.

This deprives the film of realism.

We simulate all fabric motions

so that...

...it really looks like the clothes

have been moved.

This is a joint.

Bone can be moved

with joints present.

The more natural the motion looks,

the better.

We hope people...

...find all of this natural.

We use the mocap data with...

...a software called MotionBuilder.

We add camera work...

...create each scene...

...and have the director

check the scene.

We use a lens just like

with a live-action film...

...and move it so that we can

make the film look photorealistic.

There is much more expression of

liquids, particularly blood, in this film.

Blood effects are the most difficult.

There are just so many effects:

Explosions, gunshots, etc.

We hope you enjoy watching them.

If a film is two hours long,

you don't want it to be tiring.

And you want to show 3D effectively.

First we focus on screen depth.

Then with characters in the forefront,

visual depth is enhanced.

But we must keep in mind that we want

things to jump out of the screen...

...towards the audience occasionally,

so that it does not get boring.

Easy to watch but dramatic

at the same time is what we go for.

We create a depth information

scoreboard.

The blue is cuts focusing on depth.

Yellow is for average 3D cuts.

Red is when the focus

is toward the front...

...closer to the audience.

Here, the Licker comes forward.

We check here for the parallax...

...of the deepest part

of the background.

Then where the Licker points its claws.

We want this to stick out

from the screen.

We look at this percentage

for the parallax of the claws.

The construction is all based on

the fact that the film will be in 3D.

That is why the action sequences

work so well in 3D.

I don't want to change into...

...one of those monsters!

Is how it goes.

Kamiya-san is really into military stuff.

He has a very loud voice.

Energetic all of the time.

- Okay.

- Yeah, yeah, you surprised.

Being a fan of weapons...

...he asked us to make

the sling move realistically.

- Oh, is that right?

- That's all.

He really keeps an eye

on the most delicate details.

Like the slightest

of character expressions.

I want an expression

with pain and chagrin mixed...

...with no voice coming out.

- All right, again.

- She's working on him.

I don't understand English at all...

...so all I can really observe...

...is whether or not the right emotion

is shown in the acting.

Since I don't check whether

the lines are said correctly...

...I focus on the expression

of emotions.

So it ends up being

directing in the purest form.

It should be a peaceful

and relaxing moment...

...but carrying this tension

of kill or be killed.

Imagine that the table comes flying

in this direction.

So we want you to keep the table

to that way.

So that-- Like that. Okay.

I try to act out each scene.

Showing them how I want it done...

...works best since

I cannot speak English.

I learned this from my experience

on the previous film.

You are in the wall. So--

You understand? You understand.

- We have a wall here.

- Got it.

Got it.

Yes, like that.

Action.

All right.

He just has a sense of fun about him.

Whenever he starts to give direction,

he has a smile.

He gets really into it.

It's sort of a childlike quality.

So he's very kind to the actors,

and he's just fun to work with that way.

He's very focused

and knows what he wants.

It's amazing to watch him

explain scenes...

...because you can tell

he's got a very clear idea in his head...

...of what he wants and that makes it

more easy for us...

...when somebody is able to tell us

what they need and want.

- That looked pretty good. Was it okay?

- It even works out.

Very good. Great.

- Great.

- I think it went great.

Is that wrapping, then?

I started working on visual-effects

films such as monster films.

I think I am good at showing

monster-like motions.

This was the first time...

...I got to wear a mocap suit.

The Ganados are of human form...

...so doing mocap for them

is no problem.

With Lickers that crawl on four feet...

...we do mocap.

However, since they show

nonhuman motions...

...our animation staff have to

work on the animation manually.

The Tyrants in our film are larger...

...than those in the games

and live-action films.

They morph into Super Tyrants...

...B.O.W.s that seem complete

as weapons.

Showing creatures fight

against each other...

...is something new for Resident Evil.

We've never done it in our games...

...where it's mainly

the hero vs. creatures.

It's a new world in which you get

to see characters from the games...

...together with original characters

that appear only in this film.

Creature vs. creature

and Leon's vulnerability...

...are not seen in the games.

It's a must-see to engross yourself...

...even more

in the Resident Evil world.

The most enjoyable point

is that these...

...Resident Evil CGI films

are spin-offs of the game universe.

Being able to focus on enjoying...

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