VFX BREAKDOWN POS T- PRODUC T I ON .
DNEG looked to Maya for 3D application, in which models of the plane and the entire daisy chain of crates were digitally reproduced. “Those crates were designed to consist of many different items, so we modelled each one in each crate, wrapped them all in a digital net, and ran hardbody and softbody simulations on them. In the sequence, you can see every item in the crates jostling, sliding and pulling against the cargo netting. “We also created digital doubles of Tom. There are even shots that begin as live-action footage of him, but then as we pull away, become digital. That was primarily because of physical limitations and how wide we could shoot on-set. “The great thing was that the sequence could evolve in post- production,” Jarrett explains. “It’s all carefully planned and storyboarded, and pre-vis elements are done, but when you pull it all together, sometimes you have new ideas or take things in directions you didn’t plan for. When you have fully digital recreations of the actors and the surrounding world, you can add new action to make the sequence effective.” Jarrett was impressed by the detailed work of his colleagues.
“One of DNEG’s strengths is beautifully detailed environments, with natural light. That was crucial, because although some of the events in Uncharted are fantastical, it’s not a fantastical world,” he says. “I remember the first renders we saw of the digital environment. I knew
they’d cracked it immediately. We did have the aerial plates, but I believe 100% of what you see in the final sequence is a virtual rebuild. It meant we could control the camera movement precisely. But to look at them, you’d never know they weren’t real.” GETTING TECHNICAL When it came to Venom: Let There Be Carnage , The Third Floor’s visualisation supervisor Martin Chamney was tasked with bringing the titular monster to life in a variety of ways. With inspiration from director Andy Serkis, the wheels were in motion,
Did you know? Built on film VFX work, for which it has received six Oscars, DNEG launched a dedicated TV VFX service in 2013, to enable creators of episodic content worldwide to access its talent and technology. For this, it has been lauded with three Primetime Emmys and a Bafta.
TOTAL CARNAGE With plates captured, proxies of the final VFX creations were added, offering creatives the visual reference needed to fully understand the story and action
71. APRIL 2022
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