#PLAYBLAST FLUID IMAGE SEQUENCE HOW TO#
#PLAYBLAST FLUID IMAGE SEQUENCE UPDATE#
#PLAYBLAST FLUID IMAGE SEQUENCE FULL#

#PLAYBLAST FLUID IMAGE SEQUENCE UPDATE#

Robin Beard our DFX supe for that sequence would feed back anything he needed to Roel, who in turn would feed things back to Epic, theyвЂ™d update some settings, kick it back to us. You can stick a grade over the top, but we wanted to break out individual elements and treat it how we would a normal comp. There was a lot of back and forward, figuring out things like splitting up render passes, making sure we could render out stuff that could go to comp like we normally would, rather than just having one output that you canвЂ™t do too much with. So in 4.25, there was a lot missing that you can get now off the shelf. Back then we were on UE 4.25 when we started, and of course weвЂ™re now coming up to version 5 release.

#PLAYBLAST FLUID IMAGE SEQUENCE HOW TO#

This meant that all of the content was created in Unreal (other than the CG dojo itself which remained in Clarisse) and then the tricky part was figuring out how to render it as we would in our normal pipeline. We exported that and brought it into Unreal and rendered it from there. Our camera and layout team are used to working in Maya so we blocked out a bunch of cameras, did some back and forwards with Lana and production visual effects supervisor Dan Glass and just made sure they were happy with the camera moves. For the cameras, we did do some of those in Maya. We opened everything in Unreal, all the shaders, all of the geometry, all living in Unreal. So we took from Epic the environment, the Unreal scene. Huw Evans: Everything was done in Unreal. WeвЂ™d have an open dialogue with our incredible CG supe Roel Couke, and their tech teams and weвЂ™d be upgrading constantly just to try and get everything as fresh as possible, things like OCIO colour support and layered rendering which are all in place now, but at the time was all new, so that was fun.Д«&a: So, it wasnвЂ™t a matter of taking their game engine, cameras or environments and importing them into Maya. That in itself was tricky because at the time Epic were using their bleeding edge engine that hadnвЂ™t been released, so we were taking builds of their engine and trying to build it DNEG-side. So we picked up the environment from them and took it to our own creative team at DNEG to finish it off, add extra details and make it work in shots. It started off Epic creating the base of the environment, then we had an open dialogue with them about porting that over to us to carry on the work. ItвЂ™s got that slightly different feel to it which I think worked really well. It kind of fits with the world of the Matrix. Originally, there was a thought to use LED screens beyond the dojo set piece and for various reasons that didnвЂ™t work out, but we still wanted to try and keep this sequence in Unreal. That was firstly worked out between Lana and Epic originally just to block out the environment. The design was tweaked to have three lakes that are inter-joining with these two arched bridges. Lana really loved that so that was where the design idea started from.

#PLAYBLAST FLUID IMAGE SEQUENCE FULL#

ItвЂ™s called the DevilвЂ™s Bridge (RakotzbrГјcke) вЂ“itвЂ™s this beautiful curved bridge that when you look at it from a certain angle, it feels like a full circle in the reflection of the water. Huw Evans: ThereвЂ™s a bridge in Germany which inspired it. DNEG visual effects supervisor Huw Evans describes the process for befores & afters.Д«&a: What can you tell me about the design for the whole area of the dojo environment? This was the first time DNEG had used the game engine for such a purpose on a full sequence in a feature film. The sequence, while incorporating live action actors and a practically built set-piece, also made use of Epic GamesвЂ™ Unreal Engine for rendering out the environments. How the studio crafted the Morpheus and Neo fight scene.ДЄt one point in Lana WachowskiвЂ™s The Matrix Resurrections, Morpheus (Yahya Abdul-Mateen II) takes Neo (Keanu Reeves) to an idyllic dojo location to reacquaint him with his kung-fu abilities.

Playblast fluid image sequence