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www.postmagazine.com 19 POST XXX 20XX BEAUTY AND THE BEAST BUILDING A BELIEVABLE BEAST To create a realistic-looking Beast in a real-world environment, while maintaining actor Dan Stevens' performance, a combination of physical performance capture and MOVA facial capture technology was used. Stevens also participated in separate MOVA facial capture sessions which took place in an off-site studio from Shepperton Studios. At these sessions, phospho- rescent makeup was applied to Stevens' face, which appeared blue under ultravio- let light, and he was then filmed by multiple cameras surrounding him and tracking every pore in his face. The MOVA customized hardware and software then convert- ed the performance into data. As for the household objects that magically come to life, each one has hu- man-grounded characteristics and a specific personality. The objects are in close prox- imity with the human actors and are often shown interacting, but it was a laborious and significantly time-consuming process. The final footage audiences see on screen is real and filmed in-camera and then augmented by the visual effects team during post production. In order to create flawless assimilation with the CG characters on practical sets, a solid hero model of each object — everything from a beautiful hand-painted teapot to a Rococo gilded candlestick — was created. Duplicate copies were also made, as were rubber versions for use in scenes involving stunt work, and once director Bill Condon and the visual effects team were pleased with appearances and proportions, the objects were then placed onset and filmed as part of principal photography. The candlestick, Lumière (Ewan McGregor), is one of the few household objects that could open up and become a moving character with what are essentially arms, legs and hands, and the filmmakers wanted to bring as much of McGregor's per- sonality to the character as possible. McGregor was filmed dancing and moving the way he envisioned Lumière would move, via performance capture technology. "Lumière was difficult to concept because we wanted him to be able to move, but at the end of the day he's still a gilded candlestick," says visual effects producer Steve Gaub. "Once we had a 3D computer model of him that everyone was happy with, he was constructed from a process called rapid prototyping which is able to take 3D computer files and produce an accurate model in polyester resin so you can physically see and feel it." The same process was used for the teapot, Mrs. Potts (Emma Thompson): she was designed via computer, prototyped and then molded. To bring Garderobe (Audra McDonald) to life, a real version of the beautiful — and enormous — wardrobe was created and rigged to make her move. Additional special effects elements, like those in the scene where Garderobe creates Belle's gown and dresses her, were then added in post production. we would give up a scene early even if we knew there were going to be few changes, because then we could turn it over to the special visual effects team and they would start, otherwise if we waited until we were locked completely, then we would never have the film released. As we get things in, we can see how things are working and to get to the point where, especially with the Beast, which was really difficult, because I cut when Dan Stevens was in the [motion capture suit] and the main concern, for me and I think for all, was how that the Beast was going to be visualized. I mean, if the Beast didn't work, then the film wouldn't work. And it's step by step by step. It's great, but it's also a lot of work to start with Dan and then see the various steps, the kind of rough visual effects as they're being built. We would put them in, but they were still very rough. And then you get to one of the first shots where you see the Beast — I mean, the first time we saw it, really formed, it was spectacular. And a Beast that's scary and angry, and lovable and sweet. The process is pretty amazing. Those kinds of chal- lenges were unusual for me." You're cutting these scenes over and over, and at some point, you finally see them with the final CG characters, I would think that that has to be somewhat mind blowing? "It is. It's done step by step. Let's say you have Lumière when he releases Belle from the cell. I have the real Belle (Emma), so she's in there, but I put in the previs piece of Lumière because I don't have anything else. Then, as we start getting in the visual effect on that, it's amazing, because all of a sudden, he has a face and then a body that's maybe not quite right but becoming more three-dimensional. I always have the voice, we had the prerecorded voice, so I have the previs with him talking. And then his mouth starts to move and then you start to see his face, and the step by step by step, although it could be tedious, eventually, you get this amazing 3D character that's alive from a flat, little previs to this three-dimensional candle- stick who can move and dance and sing — and has eyes— it's an amazing process." What do you feel is your biggest accomplishment on this film? "I love the movie. I think the biggest accomplish- ment is that we got what we were hoping to get… all of us. In terms of the Beast and the excitement of telling this story in a different way than the animated version. Belle is independent, she's strong, she's like a role model today…she's just a much stronger Belle. And the characters are able to sing and dance and become real. It's a great accomplishment and I think all of us contributed to that…working to make the film what we hoped it would be. I'm thrilled by it and I think we all are. We came a long way."