![]() ![]() Life was almost breathed into these inanimate objects, which in the case of Souta was something I didn’t want to do. “We ran some tests and had animators animate a few different scenes, but I wasn’t happy with the result because it was a movement that I had seen before onscreen reminiscent of Disney’s Beauty and the Beast where the china plates and cups are moving around. “With respect to the chair, we initially explored a 2D hand-drawn visual expression,” Shinkai reveals. Suzume accidentally releases the western keystone that helps to contain the worm, and it subsequently takes on the form of a mischievous daijin (a cat that can speak) that casts the soul of Souta into a three-legged wooden chair, a childhood birthday present made by her mother who was killed by a tsunami. Thinking about where Suzume was going to travel across from where she lives now on the west side, all the way to her hometown of Tōhoku in the east, the disaster-stricken areas almost presented themselves and informed where she was going to travel.” There are these remnants of human life where you can see people lived at one point but now can’t be inhabited. Even to this day, that area around the power plant is completely quarantined and sectioned off. Ultimately, Suzume ends up in the Fukushima area where a massive earthquake and tsunami caused a nuclear power plant to have a meltdown. From there she travels to Tokyo where in 1923, exactly a 100 years ago, there was a massive earthquake that hit the city. “Then Suzume moves on to Kobe where in 1995 there was the Great Hanshin-Awaji Earthquake that hit the western side of the country. That was a very shocking story for us at the time,” Shinkai explains. “In 2018, Ehime had massive rainstorms that happened because of climate change, which resulted in many landslides. The first stop on the countrywide road trip is in Ehime where Suzume meets fellow high school student Chika transporting tangerines that spill onto the road. That’s why we ended up with the rotating mechanism and artificial gravity.” “It had to look like a submarine with dark colors, weathered and used but still plausible. “Bo wanted something that was in the direction of Alien-esque rather than ISS or NASA ship,” Kaestner says. ![]() We built it in a way that we had enough detail to capture in-camera, but would run in real-time with the water and skies.” Prometheus as a spaceship was always going to be a visual effects build for the exterior shots. It was crucial that Udo came up with a physical front and rear deck because we knew from the view of the deck how much of the ship you would see. We turned it black, changed the colors, and talked with Udo about deciding where the engine room was going to be. “For the steamships we had some guidance like RMS Lusitania, which was from the period. “Everything on the Kerberos was shot first and then we damaged and dressed it up as the Prometheus,” Kaestner remarks. In that sense, the slightly darker palette and indirect muted lighting helped us because we could bake a lot of that in,” Kaestner notes.Ī variant of the Kerberos steamship is the Prometheus. That was always going to be a challenge because we’re so used to physically-based rendering these days where everything looks so real. “It was about how far we can push the game engine to give us something that is not plate photography, but a CG asset that holds up being believable. “Steffen Paul did test grades with Da Vinci Resolve on set and sent it over to Netflix, which said, ‘This is really dark!’ There are some dark scenes especially at night, but the show has a nice cinematic look to it.” Over 1,000 visual effects shots for the eight episodes were divided between Framestore, DNEG and Pixomondo. “If you don’t have enough light in a LED volume, it ends up noisy, so we needed to be quite brighter onset, but when you looked through the camera with all of the settings that we did then that was the mood Bo wanted,” Kaestner observes. Footage was shot with a specific LUT and brighter than what was streamed. ![]()
0 Comments
Leave a Reply. |