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As it turns out, the motion-capture techniques the crew had used for Planet of the Apes were not appropriate for the monkeys in this film. But, this was used only as reference for animators. As we tell the actors how to move, we block out the scenes. When Shere Khan jumps on Mowgli, every single blade of grass in that shot was modeled.

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The vegetation interacted with Mowgli and with the fire brigade of monkeys passing him along overhead. You always run the danger of anthropomorphizing to such a degree that you lose the feel of the character and what you would expect an ape to do. We tried to do motion capture, but the complexity of the motion was more suited to keyframe. With the iPad panoramas, he could see the tree, the dappled light over there, the open sun beyond. On the computer, we see a cartoon version of Mowgli and facsimiles of the animals. Animation Supervisor Peta Bayley divided the MPC team into groups under seven leads assigned to specific sequences, with each lead animator having a deputy who helped handle the information flowing through.

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Earlier, during the previs shoot, stunt actors in motion-capture suits had played the part of the animals. We have people in motion-capture suits representing the animals. The eddies, the breeze on it, the flow all feels real. Along the way, Mowgli encounters the dangerous and manipulative animals Kaa, a python voiced by Scarlett Johansson, and King Louie Christopher Walken , an orangutan-like ape based on the prehistoric Gigantopithecus. It was exciting. a growing process for everyone. To alleviate the burden of high sampling rates with raytracing, MPC collaborated with Pixar and Disney on de-noising tools. Helping to make all this — the believable characters and the realistic backgrounds — possible was a reasonable schedule.

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Description: Please help other people by adding that information. When the tiger is chasing Mowgli, that tiger looks real. We also added instancing to our proprietary renderer, Manuka, to handle the large numbers of heavily detailed trees. We sculpted every blade of grass and modeled every single polygon in the scene. Working from that, Ferrara planned photo shoots. To create the final shots, Weta Digital artists and animators replaced the blue-suited stagehands with monkeys and added a CG jungle with vegetation.
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