It was quite remarkable how much detail we could get out of SD footage and even old tapes. The quality in some would not work on a Netflix show, so we were lucky that we had Topaz Video AI to upscale the clips. Most of the volcano clips that we got were quite old, noisy and handheld. We needed to have volcanoes, ash plumes, lightning and a bunch of cloud layers ready to go. We used our prep time to sort our asset library. We then finished all the simple ones quickly so we could plan our time for the hard ones and meet our deadlines. With this project, we decided that we needed to have a really simple and fast pipeline, so we started to organize the shots into easy and hard tasks. “Before, we all worked together on LazyTown, and there we often needed to deliver over 200 greenscreen shots per day, so we used that experience in Katla. “We were the vendor studio for the project, and even though we were only three artists we were really effective,” Arinbjarnarson notes. We wanted to put fans’ worries to bed by solving the big mystery of how Maz Kanata took possession of Luke’s lightsaber in The Force Awakens!” “I love the Jawa, too! They actually appear one more time in the film, at the Academy Fair by a stall selling things ‘Touched by Luke Skywalker.’ The Jawa tries to steal Luke’s lightsaber just before we see another hand grabbing it first. It was an absolute pleasure to work with Denis Lawson, and it didn’t take much convincing at all to play a slightly lighthearted and fun version of his character.” There is no shortage of Easter eggs, such as Jawa causing technological havoc in the opening. Instead, naturally, she is looking up to well-known heroes like Wedge Antilles. “Her mum taught her piloting skills, for example, the Ryloth Roll maneuver, which then helps Anni win the race, but Anni doesn’t value it when we meet her at the beginning of the story. “Anni and her mum come from a planet very very far away, from an unprivileged place, but Anni is an extremely talented pilot, the first one from her planet to be accepted to the prestigious Hanna City Flight Academy,” Osinska states. A big bow to our CG and VFX Supervisors, Ben Toogood and Bram Ttwheam, who married the stop-motion with CG so beautifully,” Osinska says.Īppearing on screens throughout the city promoting the family pilot race and his own merchandise is Rebel Alliance X-wing pilot Wedge Antilles, actually voiced by the original live-action actor, Denis Lawson. Lighting the 3D parts played a huge role in bringing together these two techniques this actually goes both for the sets in general but also the mouths, and our Lighting Lead, Tessa Mapp. “Usually, the foreground is physical, but the rest would be CG. Besides that, there were fireworks and lots of other atmospheres that made everything sit nicely together.” The set of city and school building were constructed entirely in 3D. We played with the visibility, color, lines, static, to make it work for our film and also within the Star Wars universe. The other visual effects were screens and holograms. It was an interesting challenge to then translate it into 3D, and we actually spent quite a bit of time on it to find that perfect look. “ Aurélien Predal created very cool 2D shapes for each ship that also reflected the character of their drivers. “I was keen for the look of the spaceships thrusters to be quite stylized and a mixture between 2D and 3D visual effect, a little bit comic, like Scott Pilgrim vs. And I’ve been told by Signe Tveitan, our wonderful 3D modeler, that we used Karma and Solaris to calculate how the light interacts with the surface.” Fun was had with the visual effects. “We used ZBrush for modeling and Maya for modeling and animation,” Osinska remarks, “Nuke for compositing and face tracking, Houdini for rendering. It was quite a process to find the right thing, and Steve tells me it ended up being a motorbike shock absorber cover that with a few tweaks worked out perfectly!” I remember multiple pipes and tubes being ordered in a search for the perfect part to create his concertina mid-section, as making this from scratch would have been really tricky. His head tilt also gave him that inquisitive dog-like expression. Z1 could also stretch out long which worked so well for his fall from the table in the opening sequence and later on when he is swinging from the spacetug. “He was fun to animate, too, with elements like the ears and legs folding in/out and the slinky body allowing for playful dips and dog-like movement while still retaining a very droid-like quality. As a huge Star Wars fan, he was keen to ensure that the final puppet would feel totally in keeping with the other astromechs, and Z1 really does,” Sitzia notes. “ Steve Cox developed and 3D printed the prototype for Z1 himself. There cannot be any Star Wars story without droids, and the faithful malfunctioning companion Z1 displays the characteristics of an accordion-expanding sausage dog.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |