After we finished all the scenes, HBO asked us to change the format of the film from 2.35:1 to 2:1.ĭue to a change in video format in the middle of our process, we had to re-adjust the camera in all the scenes, which took quite a long time.Īnother difficult part of the process was the camera tracking in the scene with the Empire State Building, since all of the points to which we could attach were far from the camera. The final render and compositing in 4K also took a lot of time, due to the fact that all the source files were huge.Īll screenshots from the final intro sequence. There were also some complications, which are typical for such a large project. We were making animations for only one episode of the docuseries, so we agreed to show the team our entire process, not just the final result, to avoid wasting time on improvements. The lines that come from the buttons are made procedurally. This is a difficult task that requires a lot of time for testing.Ī frame from the Gaming Wall Street intro sequence. And at the same time, the animation must correspond to the overall artistic idea.
The best way to do this is to come up with an algorithm for the movement of the objects with simple settings, so you can animate the scene by changing a couple of parameters. Even in a small 3-second video, this can be done only once, or the designer will declare a strike. In 3D animation, you have to arrange all the objects manually and then animate them. Imagine that you have a couple hundred objects moving in your scene. We tried to grow the whole city at once, but it looked too complicated. This is done on purpose so that the particles do not mix when they appear. First, the support of the bridge and the houses around, then the middle part of the buildings, and then the rest of the city.
If you look closely at how the city appears, you can see that this happens in three stages. Next, we had to launch the particles over a 3D model. The green, purple, and blue dots are the three parts of the particles, appearing in succession. In the end, we had to heavily modify the buildings in the “parallel city,” move them, and remove the unnecessary ones. On the other hand, if we rotated the Tron-style “parallel city” to make it look more appealing, then it would not look like the real city below. If we physically combined them exactly, then it would not look good. It was difficult to combine the two Manhattans-a real city filmed from a drone and virtual particle guides from Google Maps. These 3D buildings we pulled were in the form of simple cubes, but this was quite enough for us, because we only needed particle guides. It turns out that you can use Google Maps to pull out houses in 3D by using a special program. Then, we found a simple 3D model of Manhattan buildings. We started by tracking the camera in the scene, which was easy because we had the parameters from the drone's camera. It's easier to shoot a real street separately and then put a 3D Godzilla there.
#FADE IN TEXT PREMIERE HOW TO#
How to do that? One way is to make a 3D street model and embed Godzilla there, but that takes a lot of time. Imagine that you are shooting a scene of a street, and the director wants to add a 3D animation of Godzilla running down the street. This means we needed to use a technique called “camera tracking.” Let me explain how camera tracking works. In addition to the scenes with 3D graphics only, there were four scenes with graphics superimposed on a real video. Reflections add some visual richness, but not so much in terms of lighting. Scene geometry on the left, and the final look of the scene on the right. However, it’s also difficult because the geometry you drew in the scene will exist exactly as you drew it, making it hard to hide modeling defects with light. This style of animation is simple, because you don't have to think too hard about lighting the scenes-all the materials glow by themselves on a dark background. All scenes have short text descriptions and 2-3 draft illustrations. Our storyboard for the Gaming Wall Street intro sequence. When we started the intro sequence, we only had a storyboard and our client’s request that the sequence be done “in the style of a Tron movie." Requests to make graphics in the style of Tron’s opening are common, and working in such a style is both quite simple and difficult at the same time. The initial Gaming Wall Street team call across seven time zones. Other than one small language barrier mix-up (at first we mistakenly translated "bar sports," like billiard and darts, as "liter ball,” and were a little confused) the call went well, and we got to know a bit more about the colleagues we’d be working with remotely. On the call, everyone took turns describing their job on the project, and spoke a bit about their background and personal hobbies.
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