I hadn't done mo-cap before
- just green screen and effects. But
mo-cap was quite a bit different, as the scale and what you're aiming to produce is very different.
I had a great time working on
. It was a great adventure to do, but it was also hard work. In that, we were integrating mo-cap stuff with not mo-cap stuff in the same shot. So there was lots of shooting conventionally next to the mo-cap, and technically it was very complicated.
That was challenging, and sometimes interesting. You're always changing lighting, camera positions etc. In the case of this mo-cap experience, one thing that was really important, and surprisingly liberating, was that we were working in a neutral space. We had a minimum of furniture and props, and we were just in our mo-cap suits.
As there are 65 cameras around the performance space recording you, I didn't even think about the camera.
So it's pure performing as far as your investment in it. You're playing your actions, interacting with the other people - you're pushing the scene, you're receiving the scene.
That's what's going on - there's a part of it that's real stripped down. Just pure performing."