You have to create every piece and every structure. You cannot use textures to represent the geometry like you usually can, or put all the objects together in one mesh. Like its structure and every tile on the roof. You can see very, very little, but when you make destruction like that, you have to create everything in the house. That was so hard and so challenging because we had moving trees on the destruction, the lighting setup, and the houses. We recruited a lot of people and we are very grateful for what they did as a team. Yes, the destruction sequence was quite challenging for us. Is there a particular portion or element of this cinematic that you were most happy with? This way we could feel that there were a lot of years passing by. And so we decided to remove the nights and make it so that you couldn't really notice the nighttime. It went from dry to completely green with all the trees. But for us it was important to show that it was more like a thousand years. We did this in After Effects and exported it to a 32-bit animation of the HDRI, and then put it into the scene.Īnd what we noticed was that if you do a time-lapse, and you see the night in your lighting progression, you will feel that it's only one day and one night, or maybe a week that is passing by. So, we intercut the animated HDRI with many other HDRIs. So, we decided to cut small pieces of the HDRI and then insert another image to make the time feel like it was going very fast. We used an animated HDRI, but it wasn't very efficient. Once we had that, we started on the lighting. It took a lot of previews to make this shot work well. And then we focused on the growing animations. Once we had the look and feel of final shot, we decided to make the trees grow in SpeedTree. At that moment, we used static trees and static grass. After that we made a full, green environment with trees and grass. We used a lot of scanned materials, like for the rocks and cliffs. We started with the dry, rocky environment that had no trees or grass. And for this time-lapse shot we had like twenty or thirty different group animations.Īnd you were also adjusting the daylight, the clouds, and the effects. For a group, we can use three or four actors. Yeah, we shot different choreographies for each fight. I was going to ask if all the people in the crowd were based on unique motion capture data. We gave this to the 3D people so they could build the scene after that. And then we built a lot of loops of fights. On the animation we split all the fight choreographies as different layers. So they can work on the timing of the different transformations of the time-lapse sequence. Usually we work on layout in MotionBuilder so we can get our first camera timing and first layout of this shot out to our 3D people. We began with the main characters' animation. We created a scene in our animation software, MotionBuilder. So, we were based on the timing of the choreography. For the next sequence, in the whole environment, there are maybe thirty shots.Įspecially for the time-lapse shot, we first worked on the choreography we received from the motion capture. You did some back and forth with paint-overs, so they were influencing each other.Ībout how long does that process usually take when you're doing a shot like that?Ībout how many people are usually working on something like that? And then this concept was given back to the 3D people who made a realistic version of the concept. We used an interesting process because we set up a layout in 3D, and then we took that layout for a concept artist to paint all over it. The concepts and designs we did were for the environments.įor the environments you had more concept artists working, like for the destruction scenes but also for the main environment (with the broken bridge) where most of the cinematic takes place. So, Ubisoft had a clear vision of what they wanted, so we just had to match what they said. They have different proportions with a little head and big muscles. The main thing is that the characters are not so realistic. They have a lot of character design on everything. Not for characters because the game is close to the release. Did you have a group of concept artists that were working internally?
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