DISTINCTION
Fight Club
BUF
Sex Sequence (5 shots)
This sequence shows us the mental picture that Jack (Edward Norton) imagines of the couple intertwined on the bed. The director, David Fincher, required that the action be in fluid movement and the actors just barely recognizable. The sequence was technically challenging because it involved recreating camera movements around the couple, Helena Bonham Carter and Brad Pitt. The innovative technique that BUF developed to create this sequence makes it possible to infinitely control the movements of the camera, framing, focus and of the degree of streak/blur effect vs. focus with freedom from physical limitations.
BUF created two tests to convince Fincher of the feasibility of this technique. Because the room where this scene took place was relatively small, it was not possible to film directly in the environment. The bed and the couple were filmed in studio, which made it possible to comfortably install the lights and cameras. The room was then entirely recreated in 3D, using precise plans and measurements. Still photographs of the bedroom allowed BUF to reapply all the textures on the 3D geometry. By reconstituting the room in 3D, it allowed the director to use a camera motion on the room that was slightly different from the camera on the couple, thus accentuating the vertigo effect.
During filming, the synchronization of the cameras was carefully monitored. This involved the synchronization of two camera groups. Working from an animatic directed by Fincher and executed by Pixel Liberation Front, BUF determined the ideal camera positions.
Stove (5 shots)
This sequence shows us the mental path that Jack follows as he visualizes the relationship between the burner from which the gas is escaping, and the refrigerator compressor spark, which ignites the explosion of the kitchen. What Fincher wanted for this sequence was to create a camera movement within the kitchen that had no constraints of space, speed, or weight and size. This was not achievable as a miniature. The only approach was to do it in CG.
The kitchen was modeled in 3D and textured according to reference photographs taken on the set. The 35mm references of the kitchen in various light settings made it possible to recreate the kitchen lighting. Because of the prominence of reflective elements, and the narrowness of certain spaces within this shot, this sequence has several elements relit reflecting their environment in 3D to seamlessly integrate the entire scene.
Tilt Down (combination of 5 shots)
The Tilt Down shows another path following Jack’s train of thought, this one between different installations of explosives at different locations. Fincher wanted the train of thought and its animated representation to be extremely rapid and direct. This is why the trajectory of the 3D camera passes through walls and concrete without resistance.
The entire sequence was done by projection mapping photographs onto 3D geometry.
Bombs (2 shots)
Like the Tilt Down, these shots showed us the mental train of thought of the principle character. The same technique used for the Tilt Down was also used here. To create this shot without the use of 3D it would have been necessary to construct a bomb large enough to place a camera inside. With the help of just twenty photos we were able to model and create the textures necessary to create the bomb entirely in 3D. This again allowed the animators and the director great freedom. The virtual camera being weightless and sizeless, we were able to follow any trajectory and create any camera move Fincher desired.
Trash Can (1 shot)
This shot shows Jack’s mental path on a pull back from the bottom of his office wastepaper basket. Fincher defined a very precise model of the wastepaper basket and its contents. The film’s set decoration department built a wastepaper basket in which the trash was rigid and fitted with rigging, which made it possible to assemble and disassemble the trash. This in turn allowed BUF to take the necessary 35mm reference photographs of the wastepaper basket and the trash within it, piece by piece.
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An Award of Distinction (US-$ 4,310) goes to Buf-Compagnie for "Fight Club".
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