The Darkest Side Of The Moon by Tayler Macneill

“The globalization of the VFX business has been happening for a while, but the opportunities for remote working that have been accelerated by the pandemic have been a great enabler of this trend with artists and teams able to collaborate ever more easily and effectively across geographies,” says Namit Malhotra, Chairman and CEO of DNEG.

This is happening while LED stages and virtual production have been altering filmmaking and post-production processes, bringing them closer together.Īt the same time, VFX work has continued to expand across the planet. Over the last few years, the VFX industry has surged due to an infusion of visual effects in almost all films and series, the expansion of the streamers, a boom in animation, and the growth of video games and immersive formats. You want it to feel a little imperfect in places.” “Everything is done in color so things that feel like they’re glowing are just the intensity of a color against another color to create a glow effect.” Kosmala adds, “Because we don’t want that evenness when its generated perfectly via a program. It retains that hand-drawn quality so it blends in seamlessly with the rest of the show.” Photographic effects were avoided, Loter points out. There are simple tricks like taking different textures and panning them across each other, and that simplicity is part of what makes the visual effects work charming. We tried to stick to traditional methods. you get away from this feeling of it being hand-drawn and handmade – that’s not in the spirit of the show.

“With a lot of 3D and even 2D effects that are generated. “3D was used for vehicles and things that need to be perfectly formed when turning,” Kosmala reveals. Harmony was the primary animation software while the minimal 3D work was done in Maya.

It’s a balance of finding the contrast between those two and peppering them throughout an episode.” We balanced our animation styles to be immediate in places where we wanted to keep energy up so we can save time and budget for when we want to get flowing and have lots of in-betweens to say either the action is cool here or we need to do moments where the acting is more high level and the characters are feeling grounded and real. “One of the biggest challenges with the show was getting this high quality of craftmanship and drawing and still have it move well. who worked with the team at Flying Bark Productions. “One of the things that I love about these designs is that they have a modern blend where you have structure and anatomy so the characters can turn and move dimensionally, but you also have that mixed with flat graphic elements so you can do pushed expressions and things that go far away from structure,” states Animation Supervisor Kat Kosmala. Marvel’s Moon Girl and Devil Dinosaur is not trying for realism.

The Darkest Side Of The Moon by Tayler Macneill