Geek Gestalt

This poster of Iron Man flying is from a scene that mixes computer graphics--the Iron Man character--with real footage of a cloud-filled sky.

(Credit: Daniel Terdiman/CNET News.com)

When the visual effects and animation wizards at Industrial Light & Magic started working on Paramount Pictures film Iron Man, their biggest challenge was creating a suit for the title character that was part CGI (computer-generated imagery) and part real costumery.

If you're not familiar with Iron Man, it's the story of Tony Stark, a genius billionaire industrialist who's also a bit of a jerk and who designs and sells weapons. In the film's opening sequences, Stark is demonstrating one of his weapons in some unspecified country near Afghanistan when he is captured by terrorists who demand that he craft a weapon for them. In the scuffle that ensues, he ends up wounded, with shrapnel lodged near his heart.

To make a long story short, Stark ends up making an iron full-body suit that protects him and his wounded heart, and along the way, he ends up going through a personality transplant and becoming a superhero instead of a force for evil.

But it all comes back to Iron Man's suit--a technical marvel that allows him to fly, shoot missiles, be impervious to many conventional forms of attack, and more. To watch video from the film, you see that the suit has no end of little flaps and compartments that all seem to operate independently and which are all essential to giving the Iron Man character his fully teched-out superhero flavor.

The problem was, according to ILM visual effects supervisor Ben Snow, that the traditional options for creating a suit like Iron Man's--either making it fully CGI or making it a fully real-life, physical, or "practical," suit--weren't going to work for this film.

"The suit has to do a lot more than just a suit of armor can do," Snow said when I visited ILM recently.

To begin with, the producers commissioned a practical suit for Iron Man, something that lead actor Robert Downey Jr. would have to wear on the set. But as the production advanced, the visual effects team became more confident with how they could influence how the suit was integrated into the film--and Snow and his team began to make more and more suggestions of how to blend CGI with the practical suit.

"One of the fun things for ILM," Snow said, "was that we got to contribute to the ideas of what makes the suit tick."

At ILM, the visual effects and animations teams were tasked with finding ways to make it hard to tell when a scene is mainly computer graphics and when it's real footage.

(Credit: Daniel Terdiman/CNET News.com)

That meant, Snow added, that the film's director, Jon Favreau, encouraged him and his team to get creative in the ways they planned to blend CGI with the practical suit Downey wore on the set.

One issue that made it difficult to rely too much on the practical suit was that it was heavy and therefore a burden for Downey to wear. The weight of the real suit made it hard for the actor to do the full range of motions that the script called for.

So as the team figured out ways to do more and more elements of the suit with computer graphics, Downey and others who wear iron suits in the film began to discover that they didn't always have to be wearing so much weight.

"When the actors and the stunts realized they could pull parts off (of) the suit," Snow said, "they were trying to take parts off all the time."

The solution? Snow and his team began to offer joking bribes to the actors not to remove the pieces.

"We'd offer them half the cost of doing the scene in CG," he joked, "and we'd pocket the other half."

Still, the job required a great deal of CG--but graphics work that had to be painstakingly accurate.

"The hardest part about this," Snow said, "(is) sometimes the real guy is inside (the suit, so) you have to make sure it moves the same way as the real guy."

Favreau wanted realism in the CG work, Snow added, and didn't want the CG work to make Iron Man's motions look too "martial arts."

But after some time, it seemed like the visual effects and animation specialists were getting really good at what they were doing. So good, in fact, that sometimes when the dailies came in, the lines between where the real suit ended and the CGI began wasn't clear.

"At some point," Snow said, "Jon Favreau started asking questions about the suit (thinking it was real). At this point, we realized that they'd stopped being able to tell what was CG and what was real and that was really great. Jon Favreau rang me up and said, 'Look, I've got a problem with this shot. It's very CG looking. Can you do something about it?' I said, 'Jon, that's actually a practical suit. It's not CG.'"

That was certainly an important moment for everyone because, Snow said, Favreau wanted things in the film to look as realistic as possible.

For example, in a widely-seen sequence in the film in which Iron Man is flying through the air, pursued by fighter jets, most of the action in the foreground is CG. But in order to get the clouds to come across as authentic, Favreau used real footage of clouds taken from an airplane above them. And then Snow and his team blended the two elements.

ILM Animation supervisor Hal Hickel, who won an Oscar for his work on 'Pirates of the Caribbean: Dead Man's Chest,' talks about his work on 'Iron Man.'

(Credit: Daniel Terdiman/CNET News.com)

While Snow and his team were working on the visual effects of Iron Man's suit, ILM animation supervisor Hal Hickel--who won an Oscar for visual effects for his work on Pirates of the Caribbean: Dead Man's Chest--was dealing with things like figuring out how to make Iron Man's flying motions feel right to the audience.

"It ended up being really challenging, the flying," Hickel said, "figuring out how he should fly. Iron Man takes off slowly like a heavy object, and then lands very fast because he weighs a lot."

Another big challenge was working out the size scale differences in fighting sequences between Iron Man--a normal human-size--and his enemy, Iron Monger, who is meant to be 15 feet tall.

But the scale difference was too great to do with live action, Hickel said.

"We backed the camera off and reconstructed the set digitally," he said.

Another big challenge for Hickel and his team was "trying to remind the audience that there's a man in (the suit) and that he's in jeopardy."

That meant trying to figure out ways to show Downey's face, even when he is in the suit.

"We tried to have little performance nuances that signaled to you that he's not a robot," Hickel said, adding that one way of achieving that was to film Downey in a motion capture suit and incorporating that footage into the animation process.

"It was a great help," Hickel said, "and he was excited that he didn't have to wear the full practical armored suit."

Marvel has issued a cease and desist letter ordering TechCrunch to cancel a screening of the film 'Iron Man' in San Francisco on Wednesday.

(Credit: Paramount Pictures)

On Tuesday, I received an invitation to a special Wednesday screening in San Francisco of the forthcoming Paramount film, Iron Man, which opens officially on Friday.

This actually was the second invitation I had received to a screening--the first was for a Tuesday night showing that I was, sadly, unable to attend in the end. And it was looking a whole lot like the Wednesday one wouldn't work either.

But now I'm thinking I may have to work extra hard to make it.

That's because I read this evening that after TechCrunch announced Tuesday that it was buying out a theater in San Francisco to host a private screening of the film, it subsequently received a cease and desist letter from Marvel Comics, demanding that it cancel the planned exhibition.

According to TechCrunch founder Michael Arrington's post, Marvel attorney David Althoff wrote to order the screening be canceled because, "You have not been authorized to exhibit, sell tickets to, nor invite the public to an Iron Man screening."

Now, it's well known that CNET News.com and Arrington/TechCrunch have not always been on the best of terms, but I have to say that, based on my understanding of this situation, Marvel is way, way out of line here. And I just have to object. Loudly.

Arrington wrote that TechCrunch worked directly with Paramount in setting up the screening and paid for each of the seats in the theater.

So, what is Marvel's problem? This is the same company, by the way, that back in 2004 sued video game publisher NCSoft for creating an environment that allowed players of its City of Heroes virtual world to craft avatars that could look like Marvel characters.

The two companies later settled, and while the terms were never made public, everyone knows that Marvel got it butt handed to it in the resolution.

Now, for some reason that makes very little sense, and is only going to bring it a round of very bad PR--Yes, thank you, I'm helping with that--it is trying to shut down what seems, on the surface at least, to be a perfectly legitimate showing of a film. One that has the apparent cooperation of the studio that made it and the theater that's showing it.

Arrington, by the way, noted in an update to his original post about this that Marvel's rationale for shutting the screening down had something to do with--wait for it--"public safety."

Uh, yeah.

So, knowing that fur may well fly and that lawyers may bare their, er, briefs, I just think that I have to be there.

Stay tuned on this one.

If you've ever sat in an Aeron chair, you know what real office comfort can be like. Plus, they're just great-looking pieces of furniture.

That's true whether you're talking about a real-life Aeron or an Aeron in the virtual world Second Life, where there are plenty of copycat chairs available for sale at reasonable prices.

But now, according to Wagner James Au over at the blog New World Notes, Aeron manufacturer Herman Miller has launched a store in Second Life and is attempting to address the issue of illegitimate knockoffs through an interesting two-pronged approach.

For a limited time, Herman Miller is offering SL residents free trade-ins on any fake Aerons--or on some of its other iconic products--for an authentic SL Aeron. If you don't have a fake, you can buy an in-world Aeron for a small price.

Herman Miller is attempting to address knockoffs of its famous Aeron chairs in 'Second Life.'

(Credit: Daniel Terdiman/CNET News.com)

But the company is taking a much harder, albeit polite (so far) approach to the makers of the knockoffs.

"We've contacted those parties and informed them of our trade dress protections, copyrights and trademarks they are infringing, asking politely but firmly that they cease and desist," a Herman Miller spokesperson told Au. "Some have complied, others have countered with proposed partnerships and some have yet to respond."

It's an intriguing dynamic, all around. The trade-in offer is an innovative way to reach out to the SL population, which appreciates being reached out to, as well as a thoughtful way of doing business on the part of real-world companies. It helps that the company's SL products look good. If they didn't, the whole question would be moot, as people wouldn't buy them.

As for Herman Miller's cease-and-desist demands of the knockoff creators, the result is an open question.

There are all kinds of real-product knockoffs in Second Life and other virtual worlds. One legal case everyone was watching that might have provided an answer to the question of whether such activity was kosher, Marvel v. NCSoft, was settled before a judge or jury could make a determination. In that case, Marvel sued City of Heroes maker NCSoft because the game's players could make avatars that looked like famous comic book heroes like Spider-Man or The Hulk.

Many experts had predicted that Marvel would lose its suit, so the settlement disappointed those in the virtual-world community who are interested in intellectual property issues because it deprived everyone of a final answer to the question.

For its part, Second Life publisher Linden Lab allows rights holders to file Digital Millennium Copyright Act takedown notices in situations like the one Herman Miller is attempting to deal with.

But that process is slow, and Herman Miller is clearly trying to confront the situation head-on by attempting to scare those making Aeron knockoffs into compliance. Whether it will work is a question that remains to be answered, particularly because the burden of enforcing its IP rights would surely be huge if there are SL content creators who defy the company's demands.

For now, however, it's just interesting to see how Herman Miller is approaching the matter. My take is that the company is being smart. For now. We'll have to see what happens next.