i knew it would be a lot of preservation needed, but for example sand dunes were shot with a real camera, i knew that we then needed to match that completely digitally, to be able to put a sandworm, in this example, put a sandworm through those dunes as well. so i knew it was going to be as photoreal as we could get it. it started almost from day one, it is like 0k, sand sand and the worm, and how do we make this happen and make it look 100% photoreal, but also be able to iterate and see different versions and render it, and have it to the level that imax shows? one of the biggest challenges we had, sticking with sand for a minute, was the issue of scale. in the deserts of arrakis there is no vegetation, so we didn t have bushes, no scale references for the eye to look at and know how big things were. which is good and bad,
that s the type of work i quite enjoy doing. i knew it would be a lot of preservation needed, but for example sand dunes were shot with a real camera, i knew that we then needed to match that completely digitally, to be able to put a sandworm, in this example, put a sandworm through those dunes as well. so i knew it was going to be as photoreal as we could get it. it started almost from day one, it s like 0k, sand sand and the worm, and how do we make this happen and make it look 100% photoreal, but also be able to iterate and see different versions and render it, and have it to the level that imax shows? one of the biggest challenges we had, sticking with sand for a minute, was the issue of scale. in the deserts of arrakis, there s no vegetation, so we didn t have bushes, no scale references for the eye to look at and know how big things were.
filming it as if it was for real, so it is not visual effects for visual effects sake, but visual effects to help tell the story and move the story along. that is the type of work i quite enjoy. i knew it would be a lot of preservation needed, but for example sand dunes were shot with a real camera, i knew that we then needed to match that completely digitally, to be able to put a sandworm, in this example, put a sandworm through those dunes as well. so i knew it was going to be as photoreal as we could get it. it started almost from day one, it is like 0k, sand sand and the worm, and how do we make this happen and make it look 100% photoreal, but also be able to iterate and see different versions and render it, and have it to the level that imax shows? one of the biggest challenges we had, sticking with sand
fiction movie, but try and have it in a way as if you were filming it as if it was for real, so it s not visual effects for visual effects sake, but visual effects to help tell the story and move the story along. that s the type of work i quite enjoy doing. i knew it would be a lot of preservation needed, but for example sand dunes were shot with a real camera, i knew that we then needed to match that completely digitally, to be able to put a sandworm, in this example, put a sandworm through those dunes as well. so i knew it was going to be as photoreal as we could get it. it started almost from day one, it s like 0k, sand sand and the worm, and how do we make this happen and make it look 100% photoreal, but also be able to iterate and see different versions and render it, and have it to the level that imax shows?
Media industry technology provider Grass Valley has announced a collaboration with Epic Games to bring the real-time 3D creation tool for photoreal visuals and .