matching that with our cg environment and just every day we would enter it three, four, five times and get closer and closer to the real thing. at the end of the day i think we had something like 500 unique assets, you know, 70 cars, we had to build a traffic system to drive cars around in the background, so that that would give life back there, we had a crowd system for characters, actual human beings walking around in the background, and then, at render time, when all of that is being brought in, it probably had 30 billion polygons or something are being rendered in any given shot. alfred molina, he is on basically this platform that they can float around to give him height and move him around like the legs are carrying him. that is a little bit more difficult in the sense that his feet are flat on there, his legs are not really dangling, and his coat gets caught up on the rig quite a bit. so most of the time when you see doc oct,
so what we had to do was start with a scan and a lot of photographic reference of that environment and then, from that, build just a very accurate photo real representation of about three square miles of new york. the way we did it was we started with reference photography, we lined up maybe 10 15 angles from different parts of the bridge, looking out in different directions, and then we started matching that with our cg environment and just every day we would enter it three, four, five times and get closer and closer to the real thing. at the end of the day i think we had something like 500 unique assets, you know, 70 cars, we had to build a traffic system to drive cars around in the background, so that that would give life back there, we had a crowd system for characters, actual human beings walking around in the background, and then, at render time, when all of that is being brought in, it probably had 30 billion polygons or something are being rendered in any given shot. alfred mol
are a new evolutionary branch to the long standing pc story. that was mark with the new steam deck. now, it s oscar s season and every year we like to look at contenders in the best visual effects category. last week it was the new matrix film. what did you think of it? meh. have you seen the new spider man film, no way home? i have and i loved it as did the critics and the box office. nearly $2 billion taken world wide so far, thanks very much. so here is an in depth look at one of the key sequences, where spider man is reunited with some old foes. ever since i ve got bit by that spider i ve only had one week where my life has felt normal. the great thing about the highway fight is that it s kind of contained on this bridge. the bad thing about it is that it s essentially like an all cg environment that is in broad daylight with two hero characters fighting.
like, we are looking at, you know, sea snakes and iguanas sort of moving through the ocean and how they sort of push their tail and move around, so it was some element of, yeah, realism, despite all the craziness that was going on. it always starts with good intentions. we have had a few of these on marvel shows where they shoot something and then, the story kind of changes a little bit so they more than once, we have had to just roto the actions off the plates and replace it with an entirely cg environment. it s still a bit tricky to make it feel not quite stage lit, you know, when you have an enclosed environment or a semi enclosed environment, making sure that you can adjust the plate lighting to match
an element of realism. like, we re looking at, you know, sea snakes and iguanas, sort of, moving through the ocean and how they sort of push their tail and move around, so it was some element of, yeah, realism, despite all the craziness that was going on. it always starts with good intentions. we have had a few of these on marvel shows where they shoot something and then the story kind of changes a little bit so they more than once, we have had tojust roto the actors off the plates and replace it with an entirely cg environment. it s still a bit tricky to make it feel not quite stage lit, you know, when you have an enclosed environment or a semi enclosed environment, making sure that you can adjust the plate lighting