Friday, June 15th, 2018:
Capture day!!! This is the first production shoot that I got to sit in on, and it was engaging and beneficial.
The day began with meeting the client of whom we are making a video game for. It was multiple gentlemen, all of whom were extremely knowledgeable while also being laid-back and personable. We had already prepped the stage area and data directory the day before, so from there we just needed to prepare our actor, Krystle.
We got Krystle into her suit, and luckily she knew the procedure already because she had done about 2-3 shoots at our studio, particularly with this client. We got her ROM working, and from there it was time to begin.
The shot list contained roughly 90 shots to get done in the span of 8-9 hours. For the beginning portion of the day, I sat behind the capture operator here at H.O.M., Annie, where I watched her process of working with Blade and Ground Control. As she worked, I noticed:
1. Always T-pose at the beginning of the shoot
2. Ask for notes on these shots (ex: if the motion is going from right to left and forward to backward, label it something like RFLB so that they know the specifics)
3. Make sure to remember to give your actor a break - they are also human and can't do 10 sprinting takes back-to-back-to-back
4. Make sure that if it isn't a static, in-place shot, have a camera operator controlling at least one camera to follow the motion
5. Dependent upon how the props are set up, sometimes takes without them (physically) call for a quicker motion end up being more reliable
There were also a few tricks I learned while watching how the data was captured I thought was interesting. So for example, in one of the moves, there needed to be a shot kickback. But it is difficult to achieve that motion without actually firing a gun. So what happened was one of the clients who was directing Krystle in the space actually had her stand still, point the gun out, and then he would hit the bottom of it in order to receive a more fluid, authentic motion with her genuine reaction of response.
For the second part of the day, I worked with Reagan who was the QA (Quality Assurance) Lead on set. So his part of the job was to essentially label and reconstruct the takes as we captured them. As he worked I noticed:
1. Always try to stay within 3 shots of the current capture
2. Be on the look out for occlusion or marker loss so that the data comes in clearly
3. Scrub through the labeling setup to see patterns (ex: if she is holding a gun in one hand, and has the other behind her back, those back markers will constantly be occluded)
4. Process the reconstruct for HDFs for the client, have them run through which ones they like, and then post capture day, we will solve them for clean-up.
By the end of the day, we were able to finish all of the takes by around 5:30, and then finish with rounding up the space by 6:00 p.m. I was told for my first session on stage, this was probably the most casual it will ever be given this is a familiar client, with only one performer. Typically with newer clients, they like to be a bit more hands on, and will have multiple performers, props, and environmental staging, so things can become more intensified.
DAILY HOURS: 8:00 a.m. - 6:00 p.m. (10 hours) (hour earlier for shooting prep)
CONSECUTIVE HOURS: (46 hours)