rough start i think that's a good length i do think we should
rehearse some sword fighting and stuff with and see what happens how far they
we don't want to get in the way nice huh my name is ahmed
i play jar jar judy's gonna be dressing you ah he's gonna
we're pursuing the idea of uh doing the jar jar body on the set and the head and
the digital so that's how they do that soup
you want to walk through this here is
news well but interesting news at first glance we might think there's a large
chunk to be saved from um jar jar in a suit but looking at all
the shots that he's in which is 461 the difference
of the approach we would take without a suit versus doing a suit
is about a million three well a million saved is a millionaire
i think is going to be on that too they don't want to use
that's going to be put through a whole series of movements
yes i mean the works so that they have everything they can possibly try to
track so if the suit gets damaged don't worry
about it
the guy we got has got a great walk and everything and
when he translated into jar jar it was great the thing is though
one of the things that could make this thing the most special thing in the
world is that it is a pure cg character but what we're trying to do in the end
is speed up the animation we have the guy anyway we're shooting
the guy anyway so if you have the guy in the suit
it costs you the aggravation of how does he stand in the suit the wear
and tear in the suit does it look good yeah no i know but at
the same that's all that stuff but what you gain is that there are
moments where he interacts with humans and everything
which costs very fast
one of the purposes of this well the purpose of this test is to see what the
head attachment is really going to be like and it's been brought up as a
concern that we may need to have some additional
tracking marks further out because we have to match the shoulders as well to
actually do that blend so that as there's some shoulder
movement we need to be replicating that so that our
blend actually blends so the important thing to get data on is around the
neckline and potentially around the shoulders too
and when you walk because now we're going to be in a wide
figure again you know the sort of loose arms that kind of
don't have much in them
yeah that's we're trying to take care of this one turn over please
and speed in and plop down and look around huh okay i look at the
camera and you see something oh my gosh perfect
okay looks good actually yeah that's pretty
interesting actually you sort of uh imagine feeling like see how you sort of
fill in the space and sort of look at it without your glasses it looks
pretty good hold down real soon now supposed to be a little
tight okay all right
that looks good all right you're suited up
ready for it okay everyone let's start with a brief warm-up
we're gonna start with a stretch if we could just use your performance there's
no need to keyframe animate it where you're even your character's just
sort of standing in the background you do these great things where you're
you're moving and your hands are like that if we can capture that then we
don't have to animate them we can just take those and stick those into
different scenes
george pioneer should i start this just by walking this way
yeah mostly it's a slow realization of what you got
connected to yeah first it's kind of an annoying like you stepped in dog to do
that and then you realize what it is and then you try to get away from it
right you try to run over here i think the cannon itself is not moving very far
take one and action
you