Peter also did very specific helicopter passes for us in order to gather the references needed to reconstruct particular areas and sections of Rome for the big wide establishers. Our DFX supervisor, Ben Cowell-Thomas, was on set in Rome with Peter and they made sure every location was LiDAR’d and photographed. Sometimes we used ariel plate photography to reconstruct the geometry and sometimes we created buildings in full CG, depending on the camera moves and how close the shot was to those buildings. © 2023 Universal Pictures.Ĭreating the environments varied from shot to shot. We combined together the two shoot locations to create the Rome environments, either by altering the Turin plates and adding Roman features, or by enhancing the Rome plates. So, the final look is not necessarily true to life. The original asset would look one way in the lighting conditions, and then completely different with all the charcoal, burnt sections, and scratches.ī&a: How were sections of streets for Rome (or the filming location) built up, either for CG shots, or extensions, or to aid in compositing? How were these assets incorporated into DNEG’s pipeline?Īleks Pejic: The Rome sequences were shot in different locations–some in Rome and some in Turin–and, as the story had a particular pace, some of the locations had to be compressed distance-wise. That triggered the creation of several different bomb variations and different looks. All of this would create damage to the surface of the bomb, which Peter wanted to demonstrate as we progressed through the sequence. But then also from the gas pump explosion when it catches fire. To start with, damage from going through buildings and colliding with roads, etc. What we learned as we got into the sequence was that, because the ball was rolling down the hill for quite a long time, it was going to go through certain phases of damage.
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