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The Matrix Resurrections - VFX Breakdown by DNEG
Check out this amazing & insightful VFX Breakdown "The Matrix Resurrections" by the talented team at DNEG. For more information, please see the details and links below :
www.dneg.com/
DIRECTOR
Lana Wachowski
PRODUCERS
Grant Hill, James McTeigue, Lana Wachowski
PRODUCTION COMPANIES
NPV Entertainment, Silver Pictures, Village Roadshow Pictures, Warner Bros.
DISTRIBUTOR
Warner Bros.
PRODUCTION VFX SUPERVISOR
Dan Glass
DNEG VFX SUPERVISORS
Huw Evans, Aharon Bourland
DNEG VFX PRODUCERS
Moriah Etherington-Sparks, Beatriz Quintairos Suarez
After much ambivalence and almost two decades since the conclusion of the original trilogy, Lana Wachowski has revived the world of the Matrix, bringing DNEG on board as lead VFX vendor.
DNEG created over 700 shots for the film including enormous environment builds for the fetus fields and the IO Mega City, as well as lots of CG characters - synthients, sentinels and the shape-shifting Exo-Morpheus. The project also involved creating an entire sequence - the dojo fight scene - in Unreal Engine, something that hadn’t been done before at DNEG and required the development of a whole new pipeline.
One of the main technical challenges of the project was the sheer size and scale of the immensely detailed environments. Work on the IO Mega City was led by environment supervisor Ben Cowell-Thomas and lighting supervisor Simone Vassallo, who were joined by DFX supervisor Steve Newbold and environment supervisor Nigel Wagner for the work on the fetus fields. The IO city had to be built with enough detail to support a full fly-through sequence, with everything rendered at 4K. The fetus fields were similarly taxing: the field itself contained 6 million pod stalks and the background towers close to 20,000 parts per tower.
The film takes place 60 years after the end of the trilogy, so the environments have been updated to reflect the developments of that time period but still retain the overall aesthetic of the original films. The DNEG team only received concept art that provided a broad overview of how the environments should look, so the detail work was theirs to figure out.
The Unreal dojo fight scene
For the dojo fight scene created in Unreal Engine, CG supervisor Roel Couke was charged with communicating with the Epic tech team, Ben Cowell-Thomas was the environment supervisor and DFX supervisor Robin Beard managed and oversaw the sequence.
Initially, Lana worked with Epic to create an environment based around Rakotzbrücke Devil’s Bridge in Germany, a semi-circular bridge whose reflection completes the circle when viewed at the right angle.
“Our plan was to push real time rendering in Unreal to try and get final quality renders that would hold up at 4K,” says Huw. Building the Unreal pipeline was a challenge. “We got a bleeding edge release from Epic that hadn’t gone out to the public yet - we had to take the source code from them and build it at our end.” he explains. “We were having this back and forth dialogue with Epic to explain what tech we needed to be able to use the images in our pipeline - things like OCIO colour support, separating render passes out. All of that stuff you can do now, but at that time it was all new.”
The DNEG team received the scene from Epic and adjusted and progressed it, adding details such as falling leaves and ripples on the water surface, and lighting the shots. As it was all material from Unreal, the lighting work could be done by a single artist with some support as opposed to a team of people - even though there were over 100 shots in the sequence. “We could block out the cut quite quickly and figure out things like lighting direction and how it was going to look through camera. So it was quite a big thing for us,” says Huw.
Overall, working with a new tool required a time investment, but produced some substantial benefits. “If we were to do it again, having already set up for the painful techie issues, it would be a lot smoother,” he says. “Having the ability to block out a whole sequence and view it at a decent quality, a proper rendered sequence, was hugely helpful. And being able to get a really good judgment of what the lighting should look like - really quickly - was super helpful as well.”
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