The Paddington sequel, out this weekend, gives us a second helping of the antics of a fully computer generated lead character. In 1982 there was ET, but he was a puppet so physically existed on set. That was difficult enough, but CGI has other technical challenges. Fur is particularly problematic because of the complicated physics of the reflection of light from such irregular organic surfaces (even more difficult if the fur is covered in marmalade).
Giving the actors something to look at – Paddington will only come into the movie once filming has finished – poses even more problems because the actors must interact with something that isn’t there.
Since ancient times puppeteers have been able to produce human-like movements from simple bits of wood and string. Now it’s computer algorithms that translate biological essence into an artifical version.
Of course none of this would work were it not for our brains’ motor empathy which processes the film, giving the movements of a generated figure resonance – and thereby making Paddington such an attractive character.
Dr Daniel Glaser is director of Science Gallery at King’s College London
