We then restored areas of Harry's jacket, his shirt and hands by re-projecting and animating textures'. At the moment of his passing Framestore made Dobby's eyes appear watery, and desaturated his skin textures to make him wan and pale. Certification: 12 Category: Action & Adventure Released: 25th July. That required a lot of paintwork, so we went to Leavesden and shot texture reference of Harry's wardrobe and Radcliffe's hands, and we used those textures to rebuild parts of Harry that the double had obscured. Harry Potter and the Deathly Hallows: Part 1 Format: DVD Studio: Warner Bros. 'Tim Burke shot a lot of reference and clean plates, but the takes that David Yates chose were the ones of Harry interacting with the stunt double. The past week hasn’t exactly seen a vacuum of opinion on the successes and failures of the new Harry Potter. 'The dummy and the body double became lighting reference for Framestore while integrating the animated character into Radcliffe's arms', he says. Warning Lots of spoilers lie ahead for Harry Potter and the Deathly Hallows Part 1. Compositing Supervisor Christian Kaestner led the 8-strong compositing team. Shot at Freshwater West in Wales, the gritty location shoot featured a Dobby-sized body double and a dummy. To highlight the drama of Bellatrix’s hurtling knife flying towards and into the group as they are transporting away, Yates asked that the shots look as if they'd been filmed on a Phantom camera, i.e. The rescue sequence at Malfoy Manor was notable from Framestore's point of view for its particularly demanding disapparation. Financial analysis of Harry Potter and the Deathly Hallows: Part I (2010) including budget, domestic and international box office gross, DVD and Blu-ray. Our animators were able to carefully craft emotive and believable human performances from careful observation of a variety of sources'. Burke persuaded Yates on the importance of having the voice actors on set and performing on film, and with these performances as reference, together with the animators' research (including photographic studies of Framestore's oldest employee), and, vitally, their own imaginations, the Framestore team was able to engineer a staging that worked convincingly within the context of the edit and the quirky physicality of the House Elves. 'But with mo-cap you get "everything", which can result in that slightly queasy, uncanny valley sort of look. 'Mo-cap is often Directors' and Supervisors' first choice when looking for photo-real humanoid performances', Animator Pablo points out.
This followed a proof-of-concept demo prepared for Yates and Burke by a small team led by VFX Supervisor Christian Manz, Lead Animator Pablo Grillo and CG Supervisor Andy Kind in February 2009. An important pre-production decision – one that played to Framestore's strengths – was that the two elves would be keyframe animated rather than 'acted' through motion capture.