After discovering the son of Posiedon, the Greek God of the earth and sea, Percy Jackson beings his journey with his friends to retrieve the Golden Fleece for saving their training ground, Camp Half-Blood. For this reason they must travel to the Sea of Monsters where some dangerous challenges are waiting for them. “Percy Jackson: Sea of Monsters” is the sequel of the “Percy Jackson and the Olympians” which is directed by Thor freudenthal and distributed by 20th Century Fox.
In the first film, Percy Jackson and his friends faced with some creatures of Greek mythology in their journey as well as in this film they will face same kind of creatures. To make this kind of creatures in CG animation, Digital Domain needed about 80 shots for the sequence in the first film to film on the Fox studios in Vancouver as they will do it in this film similarly. Kelly Port, visual effects supervisor mentioned it as the biggest challenge of the creature. In the first film, there was creature named as Hydra including five heads. To make this kind of creature, it is very important to shoot early in production so that the visual effects team can concentrate on the look of Hydra which anatomically feasible to help all the way through lighting and animation. The creature was modeled in Maya with the five heads based on a different janitor. As the sayings of Erik Gamache, the animation supervisor that each head was different color and shape a little bit and in one shot it had to put a pair of glasses to match up with other heads though it was pretty stable and happened so quickly. In this film they will do the same thing to create the creatures.
For making the skin of the creatures, Digital Domain team applied sub-surface scattering techniques and point-based rendering out of Render Man as they do it in this film. Gamache mentioned that they had a scaled down collisions for the skin so that they used bunch of weighting techniques, wire deformers and lag to get an overall jiggle. They just wanted to control the fat or muscle areas to get more jiggle which was completely art-diretcedable which they did successfully in the first film. So, they can assure that they will do the same technology in this film. To make an appropriate animation style for the creatures, it is slightly more difficult by its threatening nature. To make the audience to believe that they look like so realistic is a biggest challenge for the animators but they did it successfully in the first film so they can do it in this film. For facial animation which is handled using blend shapes or wire deformers what animators do with a series of sliders in Maya. For making sell movement of the creatures, artists relay on animated displacement maps to show detail and ripples in the muscle areas.
In Maya, animators can change some sliders to move the muscles. For placing the creatures in the environment, Digital Domain team took an entire survey of the Vancouver set and a LIDAR scan which they used in the first film as they use it in this film. As the sayings of Port that in the first film, the shot of Percy’s flying around the creature was quite a bit of rigging to be painted out. The LIDAR helped them to create the room, paint out the rigging and allow for more dynamic camera moves so they can apply this technique in this film. Digital Domain team use Maya to model some other design and also use it to create some characters.
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