The service is in its pilot phase. Here you will only find examples labelled as such. Client work will come with the first sheets.
Film and series
Film
Fictional example: made-up measurements, real pipeline output
Kitchen, scene 12 · decision sheet
The sheet exactly as the pipeline outputs it: three camera solutions compared with frames, dimensioned floor plan, focal length, height, distance, gear and rejected options with their reasons. It is a different kitchen from the drawn sheet on the home page.
Our own 3D recreation of the Ward–Neary fight scene in the film The Fighter (2010); the original video is not shown
Ward vs. Neary, 6 minutes recreated
Action choreography recreated from video.
The problem
Faithfully reproduce a real choreography, punch by punch, to decide where to put the cameras before shooting it.
What we did
A 10,850-frame keyframed animation of two boxers, the referee and the trainer, in a ring built to scale. Automatic cut of 38 shots (crane, ringside, orbit and corner) with synced audio.
What a director would get
The shot list, with the camera for each shot.
The full animatic with audio, to choose camera positions before the shoot.
Limits and flaws
This is previs, not a final render. Known flaws in the full animatic: head or torso contacts at 0:26, 0:54, 1:31, 1:35, 2:17 and 6:00; jumps when getting up from the stool at 1:28 and 1:54.
29 s clip (5:13–5:42 of the 6:02 animatic), no sound, chosen away from the listed flaws. 960 × 540, 15 fps.
Our own 3D recreation of a real fight; the original video is not shown
Rosa vs. Moss, final round of a world title fight
Action choreography recreated from video.
The problem
Faithfully reproduce a real choreography, punch by punch, to decide where to put the cameras before shooting it.
What we did
269 punches identified in the video and recreated in 3D. The final bell falls at 2:09, checked against the audio spectrogram. The slip at 0:58 is recreated. Boxers to scale, 1.57 and 1.60 m tall (estimate, no published source). Geometric check across all 38 shots: no rope or post blocks the boxers.
What a director would get
The shot list, with the camera for each shot.
The full animatic with audio, to choose camera positions before the shoot.
Limits and flaws
This is previs, not a final render. Known flaws in the full animatic: bodies passing through each other in the clinches (0:22, 0:29, 0:35, 0:45, 1:19 and 1:38); foot pops (0:08–0:38, 1:06 and 1:20); approximate positions at 0:17–0:35 and 0:42–0:45.
30 s clip (1:41–2:11 of the 2:14 animatic), no sound, up to the final bell; chosen away from the listed flaws. 960 × 540, 25 fps.
