![]() “When working on the same project from different parts of the world like this, it’s important to be connected, and have everyone on the same page – or frame,” says Viktorija Ogureckaja, Visual Effects Producer at Pixomondo. With the Pixomondo team in Germany and the show’s production visual effects team either in LA or preparing for shoots in Northern Ireland, Spain or Croatia, the latest in technology is required to keep everyone working as a single unit. The only feasible way to create three beasts of such complexity and size was to make sure everyone was working in sync – a proposition that can be quite difficult to achieve on a project as global as Game of Thrones. Overall these kind of enhancements have been huge – in season four we had about 74 textures for the whole dragon. “For this season, all of the individual scales were modelled individually and then attached to the surface itself, meaning the animators could move the skin without them deforming. “And of course, having these digital creatures so close to the camera meant a total rebuild of the textures,” he continues. “We’ve really had to refine our facial rig a great deal. “We’ve got a lot of close-ups of the dragons, especially when they’re coming into contact with Daenerys, meaning the facial performance has had to become much more evolved,” says Martin of the creatures. They also get up close and personal with Daenerys, demanding computational horsepower on a level not yet seen in the show. Rhaegal, Viserion and the hulking, black-scaled Drogon are indeed huge in season five, casting dominating shadows across the lands of Meereen and Old Valyria as they thump their wings against the sky. “With that increase in size – and they really are big this year – there’s much more screen space to cover, and that demands a much greater degree of complexity.” “The dragons started out as kitten-sized babies, then they grew to children, then teenagers – they’ve just become bigger and bigger,” says Sven Martin, Visual Effects Supervisor at Pixomondo. Without logging in, users can access local, frame-accurate playback and review of high-res frame sequences, OTIO and OCIO support, and more.As the show has grown beyond a one-vendor set-up, and those magnificent dragons have increased in both size and complexity, Pixomondo has become primarily responsible for the CG dragons, and as you would imagine, that’s no mean feat. While cineSync applications have always been free to install, cineSync Play is the first version to function as a standalone player. cineSync 5 Pro uses our newly designed player, cineSync Play, which can be downloaded and installed for free on any OSX, Windows, or Linux machine.Work in your language-localization is now supported, with the first release translated into Chinese.Find more ways to compare media-wipe, A/B, top/bottom, side-by-side, overlay.Access tons of new features: view image layers, access a new text annotation tool, support for separate audio tracks, and more.Enjoy improved playback performance when working with large files.Enhanced production tracking integrations with ftrack Studio and ShotGrid.Support for high-resolution original media, including frame/image sequence playback and OpenEXR support.Go in-depth on media with OTIO and OCIO v2 support.Local desktop review-cineSync 5’s new player, cineSync Play, can run locally without a license. ![]() Work more intuitively via a modern UI and faster, more responsive review. ![]()
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