![]() It can be all too easy to lose sight of the fact that to get the best results from artists, you also need tools that enable creative freedom.įortunately, in Mari, Unit Image found a toolset that allows both. In today’s fast-paced VFX industry, characterised by increasingly tightening budgets and ever-shortening deadlines, pipeline choices are focused squarely on cutting costs and saving time. “The ability to paint directly on the object is really useful, as it allows the possibility to work in 2D on the UVs and 3D views.” Empowering the artist to be more creative The team took full advantage of Mari’s support for UDIM workflows, which allows artists to work with hundreds of high-resolution texture maps as though they are a single tile, using projection paint to paint across several maps in a single stroke, then switch to 2D mode to touch up an individual map: “We explored a lot Mari’s tools to manage several UDIMs, and used a lot of layers and masks that could be instanced”. ![]() Key to getting the look just right for this project was the ability to manage a large number of texture maps effectively and consistently. We also used Mari for the inlay of the brand logo.” We also used Mari for the heat effect on the exhaust of the motorbike: the color and texture changed depending on the zoom on the element. “We used Mari essentially on characters: all the skins are treated with this soft effect, and so are the displacement textures. “For the environment, we started to model the city with low poly assets to compose each shot. He needs to feel like a pig and also to be able to pick up objects.” This meant a lot of work on the anatomical aspect, mixing two different species, especially for the pig. For the characters, we needed to figure out how to visually translate the vision for realistic anthropomorphic animals and make their personalities credible. “In Beyond Good & Evil, the characters are highly detailed and the environment is HUGE, so those were definitely big challenges. “We’ve been using Mari for three to four years, because it’s very production friendly and it allows us to paint full HD textures.” It’s a great opportunity for us to develop further our character pipeline - and texturing - which we did for the Beyond Good & Evil 2 trailer”.Ĭreating a distinctive universe populated by a motley array of weird and wonderful animalistic characters requires a huge amount texturing work, as the insane amount of detail in the characters and the environments of the Beyond Good & Evil trailer attests.Īs the founders explain, the team managed to achieve this level of detail by harnessing the power of high resolution digital 3D painting and texturing toolset, Mari: People are looking to relate to the characters or the worlds displayed, and to immerse entirely in that universe. Specializing in full CGI and visual effects for both commercials and the game industry, Unit Image has increasingly seen a requirement for look dev artists to create entire, idiosyncratic worlds from scratch: “There’s currently a strong trend in emotional and relatable projects that are very universe-based. ![]() We caught up with studio founders Maxime Luère, Rémi Kozyra, Léon Bérelle and Dominique Baudoin, to find out how they did it. The team responsible for making a splash with this cinematic - described in turns as ‘mind-blowing’, ‘lavish’ and ‘badass’ - is Paris-based animation studio, Unit Image.
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