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.
In this modern world, people
want to see some high tech graphics with some variations. These kinds of film
need technology and some render farms with render farm service are always with them to create an
animated world.
Actually, Fox Renderfarm with
blender render farm, maya render farm, good render farm software, vray render
farm and 3ds max render farm is the render farm, which provides online
rendering services with CG studios, FX house, and movie
or animation production companies.
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