Video Text Content

《The video starts with light music. Logo animation of Torchlight appears against a black background with bright lights.》 

 

ONSCREEN TEXT:TORCHLIGHT 

 

《The title text disappears from the screen to an interview with a man wearing a black jacket, light blue shirt and glasses. His name and job title appear in white letters in the bottom right-hand corner of the screen.》 

 

ONSCREEN TEXT: 

ANDY DAVIS 

PRESIDENT, PRODUCTION ADMINISTRATION 

COLUMBIA PICTURES 

 

Andrew Z. Davis 

Torchlight started because I was trying to find a way that filmmakers could iterate and be creative without the pressure that is created by the normal filmmaking process. 

 

《A man wearing a navy blue long-sleeved shirt and holding a camera in his hand is shown in the centre of the screen, followed by a conversation between him and a man next to him wearing a red and black shirt. The text "ITERATIVE CREATIVITY FOR FILMMAKERS" is in the centre of the screen.》 

 

ONSCREEN TEXT: 

ITERATIVE CREATIVITY FOR FILMMAKERS 

 

Alex LoCasale 

Torchlight is fortunate enough to workwith Sony Pictures and Sony Tokyo. 

 

《The shot changes and a man wearing a black T-shirt and glasses speaks in the centre of a blue background. His name and job title appear at the bottom of the screen.》 

 

ONSCREEN TEXT: 

ALEX LOCASALE 

SENIOR VICE PRESIDENT 

 

《The screen fades to black and SONY, Epic Games and Unreal Engine logos appear one after the other. Then back to the interview with ALEX LOCASALE 

.》 

 

ONSCREEN TEXT: 

SONY 

EPIC GAMES 

UNREAL ENGINE 

 

Alex LoCasale 

They have a partnership with Epic, which runs the Unreal Engine, 

so Torchlight was created entirely for the needs of the creators. 

 

《The scene changes and two PC monitors are shown. 3D CG red monster is shown on the right monitor. A man's profile stares at the monitor.》 

 

Alex Cannon 

Traditionally, pre-production has been a very slow process. 

 

《Interview with Alex Cannon, wearing a navy blue long-sleeve in the centre of a blue background. His name and job title appear in the bottom right-hand corner of the screen.》 

 

ONSCREEN TEXT: 

ALEX CANNON 

CREATIVE DIRECTOR  

 

《Dimly lit studio, with three other technical staff in the studio, Alex Cannon, operating the camera. The camera movements are synchronised with the images of the path in the forest shown on the monitor. The REAL-TIME CREATION message is displayed in the centre of the screen.》 

 

ONSCREEN TEXT: 

REAL-TIME CREATION 

 

Alex Cannon 

With a Torchlight, filmmakers come in and find new ideas instantaneously using performance, capture, virtual cameras, photogrammetry tools, all of the latest pre-production technologies with their own hands. 

 

《The scene changes and a video is inserted with a ticker to match Alex's words. The words PERFORMANCE CAPTURE are above an image of a man in a motion capture suit performing a wall run. Close-up shot of a PC monitor, the monitor displays a white car placed on a virtual space, camera lighting equipment and the word VIRTUAL SCOUTING on the screen. 

The text “3D ASSET CREATION “ appear on the screen.  

The shot changes to a back view of a woman walking through a cityscape where civilisation has collapsed, which is created in 3D CG. The word “3D ASSET CREATION“appear on the screen. 

The scene moves to a PC monitor, showing a 3DCG modelled woman and a wipe of an actual woman who has been modelled. When the model woman laughs, the 3D CG model woman also laughs, showing that their expressions are linked. 

The next cut shows the elaborately modelled woman, followed by a cut of the PC monitor showing her. The words ADVANCED VISUALIZATION are on the screen. Next shot is a man editing in a studio, followed by footage of a man operating a camera in a studio. The speaker changes from Alex Cannon to Alex LoCasale. 》 

 

ONSCREEN TEXT: 

PERFORMANCE CAPTURE 

VIRTUAL SCOUTING 

3D ASSET CREATION 

ADVANCED VISUALIZATION 

 

Alex LoCasale 

As opposed to a traditional pipeline, Torchlight was built to have the ability to do all of these different disciplines concurrently. 

 

《A back view of a man creating a 3D CG model in an editing studio. The image change to a video interview with Andrew.》 

 

Andrew Z. Davis 

A filmmaker can have any kind of storytelling environment that they can imagine. Hold the tools themselves, and in real time, watch their imagination come to life. 

 

《Man operating a camera in a studio. He is happily operating the camera.》 

 

Jake Kasdan 

It's cool. 

 

《The image changes to Alex Cannon interview.》 

 

Alex Cannon 

And when they leave the space, they have their whole sequence figured out. 

 

 

《In 3DCG image. A woman jumps and moves around a collapsed world with poor footholds. Speaker changes from Alex Cannon to Alex LoCasale. The image shows filming in a studio, then moves on to a interview with Alex LoCasale.》 

 

Alex LoCasale 

they could really only authorship of their projects. 

Recently we had Jake Kasdan creating shots in our volume. 

 

《Jake Kasdan, dressed in light grey, is gesturing and directing.》 

 

Jake Kasdan 

We are looking for a little bit of enhancement to an action sequence. 

We come in here and do a preliminary mapping of the scene with a live camera, with animation, and shoot it like it's an actual movie. 

It's an invaluable tool. 

 

《Image of Jake in the studio, consulting with staff and filming. The image moves to 3D CG footage. Animation showing a man wearing a black cloth and a woman in a tank top fighting. A man in grey is operating the camera. The camera monitor shows the animation from earlier. Then back to 3D CG animation. Scene changes from a man wearing a black cloth and a woman in a tank top fighting. Then change to Jake happily holding the camera.》 

 

Kat Harris 

Torchlight has a volume space that allows people to track cameras, humans or props. 

 

《Interview with Kat Harris, wearing a black sleeveless dress. Her name and job title appears in the bottom right-hand corner of the screen.》 

 

ONSCREEN TEXT: 

KAT HARRIS 

VIRTUAL PRODUCTION SUPERVISOR 

 

Kat Harris 

So we have a shoulder rig, the handheld rig, and jib that can also act as a crane. 

We have a slider that represents a dolly, and if the tool doesn't exist, we can create it. 

 

《Several staff members are around a man moving in a dark room with a camera in his hand. A monitor at the back of the room shows images of a forest. Two women in motion-capture suits are acting in the room. A man is filming with a shoulder rig. The man's camera movements are synchronised with the 3DCG-created city on the monitor. Man operating a crane for filming. Next, a man manipulating a slider. Behind him is a monitor, synchronising the camera movements with the 3DCG images. After the studio footage, return to the interview with Kat.》 

 

Christina Douk 

There's a lot of cross collaboration on tools. 

Your possibility is are endless. 

 

《A man's hand. A pink motion capture tracking marker is wrapped around his wrist. As the man moves, the human CG model on the smartphone screen moves as well. The image moves on to an interview with Christina, who is wearing a red and purple shirt and a light blue hoodie.》 

 

ONSCREEN TEXT: 

Christina Douk 

REAL-TIME ASSET SUPERVISOR 

 

《The image changes to a footage of white and red sports cars racing each other on a road in a valley. A man wearing a green cap and a red and dark blue shirt then begins to speak.》 

 

Devon Mathis 

Let's say they're going to shoot a car commercial, right? 

We found this canyon road up in Angeles National Forest. 

We took satellite data, converted it to something useful that unreal can actually understand, 

and it became 1 to 1, actually, what the space looks like. 

We get it in seconds on unreal to just change the lighting, change the camera, change the blocking of a scene with no nonsense, no noise. 

You get a lot of work done. 

 

ONSCREEN TEXT:  

DEVON MATHIS 

VAD LIGHTING SUPERVISOR 

 

《After a close-up of a hand holding a computer mouse, to a street view image of a canyon road. Image changes to the PC monitor. The road is converted into 3DCG and the process of making it realistic is shown. A white car is placed on the finished CG asset. The position of the sun can be freely adjusted to reflect the evening scene. 

The final CG Asset has a texture close to reality, and when the camera cranes up from the white car earlier, there is a beautiful valley at the back. After footage of a man adjusting a CG camera, move to the completed 3D CG footage. White and red cars in a car chase on a canyon road.》 

 

Alex LoCasale 

Everyone on our team works one on one with the filmmakers when they come through. 

 

《An interview with Alex LoCasale. Two men discussing and adjusting the footage in the editing room. Then A woman with a ponytail wearing a black long-sleeved shirt begins to speak》 

 

Rey Jarrell 

Our goal is to make sure that filmmakers feel really comfortable just being creative and playing around and using the technology as a tool and not a barrier. 

 

ONSCREEN TEXT 

REY JARRELL 

PIPELINE TECHNICAL DIRECTOR 

 

《The image moves to 3D CG movie. Footage is shown of a female character with short blonde hair, dressed in black, jumping off an aide on the roof of a high-rise building. Then to the shot where motion capture of the jumping scene is being done in the studio. A woman wears black clothing with yellow stickers and is positioned to glide, supported by two men on either side. The image change to a female gliding from the roof of a building with motion capture and identical movements.》 

 

Christina Douk 

We collaborate across different departments of Sony, so we've worked with Sony Pictures Animation and Image Works. 

 

《Speaker changes to interview with Christina. SONY PICTURES ANIMATION and SONY PICTURES imageworks logos appear.》 

 

 

ONSCREEN TEXT: 

SONY PICTURES ANIMATION 

SONY PICTURES imageworks 

 

《The image of Andrew’s interview.》 

 

Andrew Z. Davis 

We are working with animation, marketing, television,PlayStation. 

Torchlight is a place that all these various divisions of Sony can come 

and experiment. 

 

《Zoom in on Andrew as the words are spoken. Then animated footage of a grey mammoth fighting a small soldier to the left of the iceberg background.》 

 

ONSCREEN TEXT: 

IP DEVELOPMENT 

GAMING/ANIME 

 

《The image changes to an interview of Alex LoCasale.》 

 

Alex LoCasale 

We're also a field testing ground for Sony R&D tools. 

 

《Two men are consulting a computer screen. The image changes to an interview with Jake.》 

 

Jake Kasdan 

There's just been a revolution in this work in the last few years and the team here is right at the leading edge. 

 

《The images keep changing a followed order. A close-up shot of the camera, a close-up shot of the filming equipment with handles, a woman looking at the camera in the studio, and Jake operating the camera. The speaker changes to Alex Cannon.》 

 

Alex Cannon 

We have all of the resources that are necessary to create the next generation 

of entertainment. 

 

《An interview with Alex Cannon followed by a scene where a man uses two desktops PC to show a female character with short hair in a game world predominantly in pink and orange,then showing the final image of 3D CG. A woman edit the 3D CG earlier. Then image changes to an interview with Alex LoCasale.》 

 

Alex LoCasale 

Torchlight is allowing filmmakers to return to that pure form of creativity where they can 

create with a sense of play. 

 

《After an interview with Alex LoCasale, a sequence of scenes of Jake operating the camera in the studio, and 3D CG-generated footage. Black masked men, women in profile, women when fighting monsters. The screen then fades to black. Music with a rhythmic beat plays and the Torchlight logo appears with a white light from the centre of a black background. After the logo disappears, the Sony logo appears and the video ends.》 

 

ONSCREEN TEXT: 

TORCH LIGHT 

SONY