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It was this completely inflated hood and flattened out conical shape. “For all the other characters,” says Sanchez, “we were given a model of what was always referred to as the ‘Kenny pose’, as in, South Park’s Kenny. ILM’s cloth sim workload for Clones would be huge, but, interestingly, the process for simulating Dooku’s cape was slightly different than the other robe/cloak/cape tasks. “There were times where we transitioned from a live-action actor to the digi-double with the cape which was really exciting for us because of making those transitions seamless,” recalls Sanchez. Later, things switched into ILM’s Zeno toolset and they put the PhysBAM simulation engine into Zeno for both hair and cloth sims.”Ĭount Dooku’s digi-double CG cape in Attack of the Clones came into play for shots in which he attempts to escape on a speeder on Geonosis, during the duel against Yoda, and on Coruscant when he meets Darth Sidious. CARI was so great in that way because you could really easily sculpt shape upon shape and shape. It allowed us to get certain silhouettes that we wanted on a particular frame. “The cool thing about CARI,” attests Sanchez, “was that you could paint what we called ‘tacks’ that were essentially position, acceleration and velocity or damping constraints, and then layer them together. “We used Softimage for animation and CARI for the actual cloth sim and cloth ‘fixing’ for the shots.” “CARI had been built into a cloth solver,” outlines Sanchez. To handle cloth on the film, ILM’s tool of choice at the time was its own proprietary Caricature or CARI system, originally built by Cary Phillips to enable facial animation on Dragonheart.
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We knew how to do a single layer of cloth, but how do we do double layers? Do we sim it altogether? Do we do it outside-in? Do we do it inside-out? Could it scale? These were all the production questions we had.” “The big thing we needed to solve on Clones,” details Sanchez, “was layered cloth sims. Sanchez says that ILM technical animation supervisor James Tooley led the effort on the cloth simulation approaches for digi-doubles and digital characters. One member of the team was Juan-Luis Sanchez, credited as a digital model development and construction artist on Clones, and subsequently as a digital clothing supervisor on Revenge of the Sith (where capes were again heavily featured). Is Dooku’s cape as famous as those that have been worn by your typical superhero or villain? Perhaps not, but it was still a key piece of wardrobe required for the character, and one that needed to be solved by ILM digitally just like the many other cloth simulations in the film.Īt ILM, the cape work was approached as a technical animation and creature effects project.