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Come on in, it's free! This isn't a paywall. It's a Freewall. The results were promising, but Bay wanted more of a martial arts feel. But the action Michael wanted was performed by a pound martial arts guy, and we were animating 6,pound robots! To bring the animation back into the realms of plausibility, the animators added extra frames to the reference footage of the stunt actors to slow their movements. On other occasions, the team kept the same frame rate, but added an extra action in the middle of a shot.
The animators also discovered that the closer the robots were to the camera, the faster the movements they could get away with. When their entire bodies were visible, the robot had to slow down. For emphasis, the animators even moved the robots from real time to slow motion within a shot. We were psyched. We knew we were doing something special. We left it to the animators to work out the transformations. Kavanagh collaborated with character TD Keiji Yamaguchi on one of the first transformations, where Barricade changed from his robot form into a police cruiser.
To make it possible for the animators and TDs to control creatures made from thousands of parts, ILM developed a dynamic rig. It was the most liberating experience. To create the transformations, the animators would start by animating the Transformers in one of their extreme forms: usually the robot, but sometimes the vehicle.
I wanted something very stylish, like Japanese animation or Hong Kong fighting. He hid the small parts in the back. It needed to be strong and vigorous. He also transformed Bonecrusher from an army truck, Starscream from a fighter jet in flight, Optimus Prime, Jazz and Blackout. Kavanagh also animated transformations, including Bumblebee transforming from a 74 Camaro, Blackout transforming from a helicopter, and the first Barricade transformation. The animators also used the dynamic rigs to add secondary motion, to fix intersections which had occurred between the thousands of parts, and to move pieces that blocked the camera.
During the past few years, like many other digital animation studios, ILM has been perfecting its character and creature tools; hard-surface models, on the other hand, have received much less attention. The pain was partly self-inflicted, however. As a result, ILM had to solve problems ranging from rigging characters with thousands of parts, to lighting shots with thousands of reflecting surfaces, to managing the level of detail sufficiently to make rendering the shots feasible.
Now check out ILM's step-by-step guide showing how rigs, match move and live-action footage were used to make the Transformers come alive. Director Michael Bay shot much of the destruction in Transformers on camera, including the exploding vehicles in this shot. During this sequence, the Decepticon Bonecrusher has just flipped the flaming car and is confronting the Autobot leader Optimus Prime.
The total length of these pieces, if lined up side by side, would be 2, feet and their total volume would be 4, cubic feet.
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