A Virtual Reality Adaptation from The Acclaimed Novel
The field of Virtual Reality is still a new frontier, and we are constantly surprised and delighted by the stories that come through our studio.
Lincoln in the Bardo is the debut novel from George Saunders, and it is already generating a ton of buzz. It’s a work of historical fiction, based on the story of Abraham Lincoln after the death of his son Willie. As the Civil War was in its infancy, Lincoln’s young son fell ill and died; Lincoln was rumored to be so grief-stricken that he went to the graveyard to hold his son’s corpse a few days after his passing.
Some novels lend themselves to be adaptable for the stage. Others make excellent transitions to scripts for film or television. Lincoln in the Bardo is a story that is all at once so haunting and heartbreaking that it adapts well to something as deeply immersive as a VR experience.
We had the pleasure of working with filmmaker Graham Sack, The New York Times VR, Sensorium Works, Plympton, and Silver Sound to create this VR experience in time for the novel’s release on February 14.
The Molecule on-set VFX supervised the filming of Lincoln in the Bardo in November of 2016.
The background plate and the live-action plate of Abraham Lincoln and his son Willie’s body were filmed in Greenwood Cemetery in Brooklyn, NY with a VR rig. (Right: Graham Sack on set in Greenwood Cemetery)
The ghost actors were filmed individually and in small groups against a green screen on a sound stage with a single-lens camera. This strategy was helpful in post production, as we were able to have more control over how they were arranged in VR space.
Post Production and VFX
The assembly for this particular project was unique, as the final export was a continuous shot.
Because the finished piece was over 35,000 frames long, we had to find a unique way to break it down into workable pieces. The solution became a combination of using compositing software (we use Nuke in-house) and Adobe Premiere.
VR Compositing Supervisor Selim Yang explains that it would have been problematic to render the entire scene from Nuke. “This piece was about 10 minutes without cuts,” she says. “Since Nuke is shot-based software, it could have been very difficult to composite hundreds of elements for a 10-minute sequence in Nuke.”
Our team stitched the background footage in Nuke and rendered it out. They rotoscoped Lincoln and his son in Nuke, and rendered out the full-length scene with an alpha layer. And finally, they applied the ghost effect to the actors and rendered them all out individually. VR Producer Drew Wood then integrated all of the layers in Adobe Premiere.
The Power of Story
Sometimes the creative process can desensitize artists to the story itself. In VFX especially, because artists break down full scenes to individual frames, it can be difficult to remember to see the forest for the trees.
This wasn’t the case for our artists with Lincoln. Everyone on our team was touched by this story, and they were proud to be a part of sharing it with the world.
As poignant as the experience is, it also has its chilling moments (don’t forget, it takes place in a graveyard). “It’s really spooky,” Selim recalls. “The ghosts walk right up to you.”
The original novel by George Saunders is already receiving accolades far and wide, so if you’re the type of person who likes to read the book before seeing anything else, you should definitely start there.
However you choose to experience Lincoln in the Bardo, we hope you enjoy it as much as we enjoyed being a part of sharing it with you.