![]() “The documentary style of filmmaking is different from feature film,” Nair observes. Since visual effects was a new area for Ryan White, ILM produced storyboards and previs that also aided editorial. Then there are differences as to the environments that they were in, and those were kept realistic and true.” ![]() ![]() “All of those animation cues were respected, so we did animate Spirit differently than Oppy. “We respected the story, like when they needed to compensate for how Spirit was to be driven after one of the wheels broke,” Busquets states. The engineers at JPL were excited that we were breathing life into the rovers.” The models for Opportunity and Spirit were the same but treated differently. We had to keep all of those things in mind. We built up the rovers with some of the stickers that were on the prototypes and those were taken off when the rovers went to Mars. “We would send turntables of the rovers to the JPL and they would point out certain things that felt a little off, like how the robotic arm would bend and including the decals/details on the rover itself. “The rovers themselves are the most accurate versions of Opportunity and Spirit,” Nair observes. Data was provided by the NASA Jet Propulsion Laboratory.
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