Gas masks were also digitally placed upon the bodyguards accompanying Luv (Sylvia Hoeks), a replicant henchwoman for her maker Niander Wallace (Jared Leto), and K encounters CG bees. The compositors spent the time balancing each shot to get that virtual backing to sit in it." "We had to modify the backing in all of the shots and that meant a crazy amount of roto. "Outside in the plates they had a physical backing where there was a printed image of the Las Vegas skyline, but that led to some wrinkles in the backing and there were some issues with depth," remarks Adrien Saint Girons. Just to try to give a hint of some human level there." Difficult scenes and paint jobsĪn unexpected difficulty arose in the penthouse sequence when K and Rick Deckard are having a conversation. We would dress the street as if they all ran away.
"My concept was when this bomb went off there were people outside or in restaurants or out on tables eating. The prevailing thematic look of the film is of a tiny man living in a gigantic and oppressive world. It was months of designing different pieces, parts, signage and putting detail in that would give it scale." We put newly designed buildings on top of them or blended the original and current design of the building into a Syd Mead kind of design. "The Framestore London art department created a model of futuristic Las Vegas where there are still key buildings in the same location. "We started with a USGEO point cloud of actual Las Vegas and all of the buildings that were there," explains Hoover. Texturing was handled in Mari using polarised photography when available and our look development was created using Arnold shaders."Ĭoncept art produced by Double Negative to explore the urban environment "We then project back some details on our default resolution in ZBrush. "With these scans, we retopologised clean meshes in Maya and prepared UVs for texture projection," remarks Framestore CG supervisor Adrien Saint Girons. Photo scans were used as much as possible for the asset builds. Each shot was custom laid out compositionally with the same pieces: ships, beach, ground and piles of trash." We started by using a particular beach in Iceland as our ground plate. "The crash site was a partial set built in Hungary that we extended all the way around. The prevailing thematic look of the film is of a tiny man living in a gigantic and oppressive world "We had helicopter reference footage of the Chittagong, Bangladesh salvage yard with the ships on the beach being dismantled," states Hoover.
San Diego has become a massive junkyard known as Trash Mesa. We ended up coming up with something that Denis called the 'patented Double Negative advertisement system', where we would take a flat advertisement, break it into several layers, layer stuff in Houdini, add a static flickering effect, output as Alembic caches, and use them as light sources in the scene." "The ads went through a bit of a design process. Hundreds of ads projected by drones had to be created, such as one featuring a dancing ballerina. "Using our in-house tools, this is up-resed to a more detailed version then converted to a VDB point cloud, which is then used to instance more complex geometry within Clarisse," he remarks. Drone-projected ads light up night-time Los Angeles, based on aerial plate photography of Mexico City
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