Environmental visual enhancements11/28/2023 ![]() “We have to start from a point of authenticity and then take some creative license because we’re still making a piece of entertainment.” The methodology did not change going from a series to feature format. “This is not a documentary,” observes Richard Frazer, VFX Supervisor at BlueBolt. The story revolves around Uhtred of Bebbanburg attempting to unite England after the death of King Edward. That was all done in comp.”Īfter being the sole visual effects vendor on 10 th century British saga The Last Kingdom, BlueBolt gets to apply five seasons worth of expertise to the Netflix feature film The Last Kingdom: Seven Kings Must Die. To effectively achieve that in compositing we came up with a method to stripe out the reflections and refractions from the pieces of glass, defocus them separately using a different depth channel and recombine them all. We had to come up with a way to defocus all of this stuff properly. You have a depth channel of the piece of glass. Glass is all reflections and refractions that’s classically quite difficult to comp because if you have a CG render of a pane of glass and you’re seeing through it, you don’t have a depth channel for the stuff you’re seeing through it. Also, the way that light travels through glass and compositing glass has some fundamental difficulties. That was something we were definitely anticipating. ![]() “We had to have moving reflections on every surface and nearby buildings as well. “How are we going to build the city and add moving traffic to it?” Towle observes. “This is not work we’ve done too extensively before, so new pipeline tools had to be written to help with that, and new animation tools as well.”Ĭonstructing the DC Towers and surrounding Vienna were the biggest photoreal environments for Finn Design + Effects. “Because we were replacing the glass in every shot and glass is highly reflective, that required us to do accurate digital doubles of four or five characters, and those had to be rotomated into every single shot,” Towle explains. We started with broad strokes and we slowly zoomed into the tiny details like anisotropic filtering, dirt maps on the glass, and kept adding layers of detail to the CG build until it looked photoreal.” Rotomation of the characters was a critical part of the process. Pictures were shared of what this sequence might look like. Early on, Björn and I talked about other references. “It gave us a good starting point and base to ground our CG. “Björn knows what he wants, and they had actually built quite a big set of the awning, but we ended up replacing all of it because you have reflections in the pieces of glass such as crew members and bluescreen,” Towle remarks. Clear and concise instructions were articulated by Mayer.
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