• Venice, CA—Blur Studio sends Shania Twain into a future world dominated by menacing robots in I’m Gonna Getcha Good, the first music video release from the singer’s album Up! due for release this month on Universal/Mercury. Employing a team of 27 animators, the studio was responsible for all CG elements and scenes. Tim Miller served as creative director for Blur Studio, with Tim Wallace and Aaron Powell as CG supervisors. The video is directed by Paul Boyd of Form.

    With only a six week production schedule, Blur Studio used the most cutting-edge techniques and an exceptional talent pool to pull it all together in time for the video’s release date. Creatively, Miller and Boyd collaborated on the look of the futuristic world, the robot characters, Twain’s motorcycle and other key elements with in-house concept artist Chuck Wojtkiewicz. “The first thing we did was sit down with the director and establish a futuristic design scheme,” Miller said. “Then we created storyboards and an animatic laying out the entire story.”

    Visually, the plot required a combination of complex CG and live action scenes. The live action elements of Twain and her band were shot on a special effects stage in London with Blur Studio motion capture supervisor John Bunt providing effects supervision on the set. Bunt employed a novel approach which enabled him to get as much information as possible from each shot by recording the motion capture data simultaneously with the live action filming. “Using motion capture in this way made the compositing and tracking process much faster and easier,” Bunt said. “Had we not used this technique, the animators would have had to do a lot of the work by hand and the results might not have been as realistic.”

    When the animators set to work in creating the CG scenes, less than three weeks remained in the production schedule. Even with 27 artists assigned to the project, delivering 110 shots, 70 of which were all or mostly CG, was a challenge. “It is the largest number of artists that we have ever had working on one project,” said Blur Studio producer Al Shier. “The logistics of organizing the work was crucial; it was also imperative to maintain consistency in the animation, particularly in terms of lighting and the look of the shots.”

  • Another challenging aspect of the project was the building and production of a digital double of Shania Twain. The digital character was used in wide and medium shots involving complex stunts as well as one sequence where the digital double appears in near close up. In order to make the animation appear real, Blur animators mapped a real image of Twain’s face onto the digital character’s head.

    “The clients were a dream to work with,” said Miller, “They gave us the latitude and opportunity to really push the limits; we can’t wait to do another music video.”

    Blur Studio

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