![]() We’d be provided with a set of trunks, big branches, small branches, twigs, leaves and told there you go: assemble your forest however you like! We could add so much detail working in this way.” Spreading like wildfire Artists were working with massive scale, from defining massive variety in the size, angle and height of branches to establishing the placement of needles on plants.įX Supervisor Denys Shchukin likens the forest construction to a LEGO build replete with FX detail: “We had so many assets. This enabled more unique geometry to be rendered than possible on previous shows.Īnd there was a great deal of geometry. The resulting procedural layout was then used to create an optimized render setup. They then simulated branches, positioned logs, and established patterns of growth to match what the audience would see in the plates. The FX team first ascertained the general distribution of trees and bushes. “We built on top of that foundation using SideFX’s Houdini – not just the layout, but a lot of the modelling, too.” “These elements helped to create a digital environment that would be completely seamless with the plate,” says FX TD Michael Billette. The team was then able to replicate this in the dizzying array of digital forestry required for the scene. They received on-set plates and LiDAR scans from the production, which provided a rough idea of the size and growth of the trees surrounding the two main characters. #Lost in space fullImage Engine artists built the full forest in CG. Lost In Space required the studio to once again bring these skills to the fore, building an alien forest that scaled from individual detail to an overall sense of depth and atmosphere. With experience on shows like Jurassic World, Image Engine is no stranger to interactive digital forestry. One of the team’s first jobs was to simulate a beautiful forest. We were able to be really creatively flexible, which is a dream brief on a show like Lost In Space.” “The client was really open to taking feedback and guidance based on our expertise in sci-fi concepts. “It involved a lot of concept art, a lot of shot development, and a lot of fun,” says Sita. Among other augmentations the studio was responsible for enhancing a lush woodland, creating a raging wildfire, directing a colossal crash, and, of course, building some extraordinary robots.įor VFX Supervisor Joao Sita, the opportunity to refresh the retro sci-fi feel of the original Lost In Space was a dream come true. Image Engine’s visual effects take centre stage for 266 shots across five stunning episodes. Things go from bad to worse as the Robinsons become entangled in a death-defying race against time, hopping from one hazardous extraterrestrial environment to another – environments that Image Engine had to create. When the Robinsons’ spaceship, Jupiter 2, veers off course towards an unknown planet, the family finds they must battle the elements to survive. #Lost in space updateA twist on the time-honoured tale The Swiss Family Robinson, this modern-day update again follows a family of pioneering space colonists tasked with exploring the cosmos in 2046. #Lost in space tvLost In Space is Netflix’s slick, 4K reboot of the classic 1960s TV show. ![]()
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