Hey Alan, just came back from the movie……. AHHHHHHHHHHHHHHHHHHHRG!!!!!!!!!!!!
Bravo Rodeo for the amazing work!!! it's cool since i've read your mail before going to actually go see the movie. Just like in Mortal Kombat……. Flawless Victory!!!! sly Sylvain Lebeau // SHED V-P/Visual effects supervisor 1410, RUE STANLEY, 11E ÉTAGE MONTRÉAL (QUÉBEC) H3A 1P8 T 514 849-1555 F 514 849-5025 WWW.SHEDMTL.COM (http://www.shedmtl.com/) <http://WWW.SHEDMTL.COM (http://www.shedmtl.com/)> On Monday, 15 July, 2013 at 3:07 PM, Alan Fregtman wrote: > Hey guys, > > A lot of people say Softimage doesn't get used much in movies, so I > personally love to hear stories when it does happen. Therefore, I wanted to > share some details with you. :) > > I'm the lead rigger at Rodeo FX http://rodeofx.com and we did all of the > interiors of the control pods (the cockpits, that is), including the visors, > foot actuators & mechanical stilts, some digidoubles, etc. (except the > holograms/UI graphics that were done by the folks at Hybride.) We also had > the chance of doing our first organic creature, the brain in the lab (which > involved a lot of "gross" ICE deformations), as well as many beautiful matte > paintings and a couple of helicopters. > > Overall, we did over a hundred shots. CG was done in Softimage and as far as > I know it was all rendered in our favourite renderer, Arnold! We'd still be > rendering today if Mentalray had been used. :p We threw countless ~8k > textures with displacement and stupid amounts of topology, and good ol' Arnie > performed like a champ. > > The stilts (the leg controls in the cockpit) had anything from 1500 to 2500 > separate meshes and on average about 150 segments (solid groups of parts that > moved as one.) Once we identified the "segments" by the end we had a rig of > Arnold stand-ins with each segment saved as one ass file, and low-res geo > representing that segment constrained to some part of the rig. It then became > relatively "light" to have the standins rigged instead of the full raw geo, > and it made it quite easy to replace parts or textures later in the pipeline > during or after animation. (Also caching was a piece of cake in this > scenario, as we only needed to plot the segment nulls instead of thousands of > meshes or pointcaching anything.) > > On the brain there was procedural pulsing animation driven by ICE deformers. > Globules would "breathe", a heart-like organ would pump its ventricles > intermittently and an intestine-like organ flowed with bulges travelling > along its tract. It was gross and (in my opinion) kind of awesome. lol > Speaking of ICE, there was a kind of lettuce behind the brain that was also > moving a bit. The modeling was done with strips that were procedurally curled > and then if I remember correctly the whole thing was driven via Syflex as the > brain gently floated. This lettuce thing was handled by another guy on this > mailing list, my coworker and friend Jonathan Laborde. Maybe if he's reading > this he can give more details of how he used ICE in a few other shots. > > It was crazy fun project to work on. Fingers crossed that Pacific Rim 2 > becomes a reality. :) Anyway, did you guys go see it? What'd you think? > > Oh and speaking of other movies, we did a ton of work in "Now You See Me" as > well, including hundreds of stadium dudes with our propietary ICE static > crowd system, falling/flying money, cg bubbles, an art-directed liquid, > lockpicking, flying cards, many vehicles, the projected motiongraphics near > the end and a few invisible fx. (I feel like I probably missed something, but > anyway, we did a lot.) We were the main vfx vendor on that film, delivering > just over 20 minutes worth of vfx "magic" (pun intended.) Again, Soft & > Arnold and lots of effects in ICE all throughout. > > Cheers, > > -- Alan >
