3D Tutorials: How to Make Dogs in Togo(3)
The digital environment in the film
What we mentioned above are all about the production of CG sled dogs. There are many natural environments in the film, some of which are fully synthesized digital landscapes, and some are enhanced effects after real shots in Alberta, Canada. The two main scenes are Wheat Kinley Mountain shooting at Fortress Mountain, Alberta, and frozen Norton Bay shooting at Lake Abraham, Alberta.
Real shot material
- Shooting across a frozen lake in Alberta, relying on a lot of roto to complete
The reason why I chose Lake Abraham in Alberta as the location for shooting the unstable frozen lake is that the blue ice here is very clean and clear, and the place is large. It's just that the weather on the day of the shooting was not very compatible. Two days later, the lake was covered with snow. Fortunately, the production team took a lot of reference photos within these two days.
Nearly 95% of the shots are related to the sled dog and the owner Leonhard Seppala. To facilitate production, the entire sled team, sled, protective gear, fur, clothes, and Leonhard Seppala's hair need to be rooted separately, taking into account the sled dog body behind the team The cold atmosphere is stronger than the sled dogs in front, and the roto has to be created in layers.
A real shot of sled dogs, replacing the environment and enhancing the atmosphere
Under normal circumstances, it is sufficient to project the roto layer on the character's body trajectory or vehicle trajectory and then superimpose on it, but at this time the hair details are very complicated. You need to project the roto on the card, build a sled system as a card binding, and then add Each layer of particle FX, snow, atmosphere, etc. In addition, the snow and ice produced by the sled and sled dogs flying forward are simulated in Houdini and filled with some 2D elements.
- Cracked ice
The design of the ice-breaking lens is very complicated. The live shots were taken on a flat ice surface, so some ice flipped shots can only be done in full CG, while those non-CG shots used a method of destroying the lens track to make the ice surface look more" be more active, limit it to the range that does not destroy the parallax, use 2D techniques to constrain the fixed camera on a floating ice cube, or move the camera on the ice material, add 2D floating, and make the effect look less stable.
Moreover, the material itself was shot on a flat ice surface with different light, and the lighting conditions are constantly changing with time. Therefore, the material of each version is different. It is necessary to keep these materials consistent and guide the ice surface. Fragmenting piece by piece is also a long and complicated process.
- Simulate huge ice cubes
In the sequence of the sled dog team crossing the frozen lake, huge blocks of ice will gradually rise as the ice surface breaks. The production team used procedural methods as much as possible to guide the shape of huge ice cubes. When there are a large number of huge ice cubes, there is no way to bind each piece individually, and it is impossible to carry out carving, texture, and appearance development processing on each piece. This will limit its shape and size. Once you want to make it If you modify it, you have to go back to the previous step and recreate it. So they created a new Cascade system that allows the layout department and the environment department to create huge ice cube layouts on a shot-by-shot basis.
The Layout department created a very basic proxy shape in Maya and used Maya's curve tool to draw a huge ice shape, stretch it, place it in the scene, add binding constraints, and set up rough animations in the floating ocean. The environmental team has created a very practical toolset that can procedurally model huge ice blocks through basic geometry, generating broken edge details, internal bubbles, cracks, and faults in the ice layer. With the help of new tools, the work of the production team is basically all day shooting during the day and farm rendering at night.
If you need to change the size or shape of the huge ice cube, go to the Layout link to redraw the curve and give it to the next process. The visual effects link will also simulate the interaction between huge ice cubes and water, including details such as bubbles and splashes, and finally, render in Clarisse.
- The environment of other mountains
In the film, the growth of Togo is described in the form of memories of Laosai, part of which takes place among the mountains. The production team took a lot of very beautiful mountain views and modified them on this basis. For example, when shooting in Fortress Mountain, Alberta, the director thought the environment was good but there were too many trees, so some processing was done in the later stage. For another example, in the shots of the settlers' houses, there are no Alaska mountains in the real shots, and they need to be added later.
When designing the background, compared to the cumbersome work of drawing a large number of digital landscape maps, the production team adopted a 3D method that combined digital high-modulus, lidar scanning, and photogrammetry technology.
In the end, the mountains that we saw close to the lens were sculpted, textured, and look-dev processes were completed. There were also some Clarisse renderings of trees, leaves, and rocks. In general, there was indeed a lot of background work that needed to be processed.
3D Tutorials: How to Make Dogs in Togo(2)
The dogfaces system for sled dog facial capture
In order to produce the final version of the sled dog animation, DNEG also explored the dog's motion capture and spent time developing the Facial Action Coding System (FACS) system specifically for the face of the sled dog.
- Research and development of sled dog motion capture
In the early stages of production, DNEG used well-trained sled dogs for motion capture in Animatrix Studios. We usually see actors wearing professional clothing for motion capture. This time the same process happened on sled dogs. The way the equipment is worn and how to set tracking marks on the fur is very technically challenging. Although these motion capture data were not used in actual production, it was still a good learning experience for the production team in the future.
- Research and development: dogFACS system
In order to have a detailed understanding of the facial muscles of sled dogs, and to clarify the working direction of facial binding as soon as possible, DNEG also started dogFACS research very early. Since there is a human face-catching system, there can also be sled dogs. The researchers categorized all sled dog expressions, and drew facial expressions based on the dogfaces system, including "mouth raised" and "wrinkled nose". For example, a growl is "upper lip lift", "wrinkle nose", "wrinkle lips" "The expression of these three actions combined together. Facial control schemes based on these expressions can enable animators to activate or counteract individual expressions, thereby creating more detailed and believable animations.
DNEG’s binding department has re-developed the entire four-legged binding system to simulate higher standards of real performance, including a new front leg module, which has the function of “fixing limbs” so that animators can imitate most animals. The fixed state of the front leg when the weight is on the leg; the reconstructed spine setting is also included to improve the realism and function of the animation. In general, the binding process requires a lot of effort. It is necessary to work closely with the animation department to develop and improve the four-legged binding standard, and always draw inspiration and direction from research references.
- Roaring time
There is a scene where a little partner named Ilsa in the sled team roars at Togo, and Togo immediately subdues Ilsa. Please note that the seemingly real performance here is actually a CG shot.
In the actual shooting, the dog handler used a "snarling device", which uses a rubber band and a prosthesis to open the sled dog's mouth. It is said that the sled dog who plays Ilsa is very docile and very coordinating with the whole process, but its eyes and constantly wagging tail reveals its extremely happy state, and it doesn't look angry at all.
Real shot material
The effect after replacing the CG head
The production team decided to use a real shot of the body + CG head to solve it, and designed some conceptual images of the sled dogs being angry and fierce. This production process is very challenging for riggers, modelers, and animators. They need to accurately grasp the subtle facial animations of sled dogs, and Ilsa's head production is more detailed and precise than Togo. After all, the lens is mainly In performance Ilsa.
Real shot material
The most useful part of the dogfaces system is this close-up shot of Ilsa's rant. FACS expressions and mixed expressions are linear, while the sled dog's mouth and nose can be moved at will. In order to have the authenticity of proper micro-motion, the production team added many small details next to its nose. It is said that when the roaring scene animation test was shown for the first time, it was played side by side with the real shot material, and most viewers could not see that it was fake.
Real shot material
- Sled dogs skating on ice
There is a plot in the film. The sled dog team braved the snow and cold to cross the unstable frozen lake under the leadership of Togo. When they returned, the ice surface was torn apart, and the sled dogs were moving forward quickly while their feet were slipping.
The DNEG team also began to find some materials on the Internet about sled dogs slipping or falling, to provide a reference for finding the unstable feeling of sled dogs standing on the ice. These materials will be put into the rough cut of the animation processed with Time Editor to create a suitable effect for the overall shot like building blocks, and also help them determine the performance of the sled dog in some specific shots. From the perspective of animation quality and details, this method should belong to a relatively advanced blocking.
- Animate multiple sled dogs
The above-mentioned ice skiing. In addition, there are 11 sled dogs in Togo. The behavior of the sled dogs in the team is different from individual performance. For this reason, DNEG has developed a binding system to determine each The distance between the sled dogs in the team, if the distance is too far, part of the system will be displayed in red. Although this system is not super accurate, it can still provide the team with an approximate range.
The production team carried out some layout development work when processing the animation, set up many different cycles and different speeds for the state of the sled dog action, and input them into the binding system so that the layout effect can be freely switched and loaded before loading The method of setting animation after binding is much more convenient.
The Layout department can set up the sled animation according to the selected sled dog sport Cycles and speed while ensuring the work efficiency while achieving the authenticity of the effect as much as possible. It seems that this part of their work is also very convenient.
3D Tutorials: How to Make Dogs in Togo(1)
Behind The Scenes
The visual effects of this film are produced by DNEG, Lola Visual Effects, and Soho VFX. The most impressive thing in the whole film is the loyal and brave sled dogs and the local weather. DNEG began production after shooting in October 2018. The cycle lasted for about one year. A total of 872 artists from 4 different branch teams completed 778 VFX shots. Next, we will divide the parts made by DNEG (CG Dog and Digital Environment) into three parts to introduce to you.
3D scanning of sled dogs
The husky sled dogs we saw in the film are not necessarily real, some are full CG, and some are CG replacements of a dog head. The sled dogs produced by CG need to match the real shots of the sled dogs. It will involve 3D scanning of real sled dogs, collecting reference materials, redesigning hair tools, building muscles and bones, and reconstructing the roaring appearance of the sled dogs.
DNEG has done a rocket raccoon with 800,000 hairs in "Avengers 4: Endgame", and has also tested wolves in previous projects, but has not done a dog, nor has it dealt with something like this Such a huge fur/hair production in the film.
For the "Togo" project, they updated the internal hair tool Furball. Through some development and optimization work, they first created the largest amount of hair on a single dog as much as possible, and then met the hair of 11 dogs in 1 shot. In addition to the real appearance, it is necessary to simulate the state of hair with water, ice, and snow and its rendering effect.
- 3D scanning of sled dogs
During the shooting, DNEG performed two photogrammetric scans of 30-40 sled dogs in the studio using Clear Angle, one wearing summer clothes and the other wearing winter clothes. The dog handler introduces a single sled dog into the studio, first familiarizes himself with the environment, and then takes him to the designated C position. The scanning process must be completed all at once, otherwise, there will be no chance to do it again if the dog is scared away.
There is a separate shed next to the Clear Angle shed, which is equipped with an animation reference camera, which can capture the detailed dynamics and characteristics of the sled dogs outside of the actual shooting, and provide reference materials for creating CG character bindings and assets.
- From data to sled dogs
A 3D scan of a sled dog can get feet, legs, head, and rough body volume data, but not including fur/hair data. Without hair data, it is impossible to analyze the muscle mass and the tissues under the fur. The solution adopted by DNEG is to manually measure the fur on the sled dog’s neck, back, tail, and other specific locations with a measuring tape in the small shed mentioned above.
However, this method of creation is more based on the dogs involved in ideal, anatomy textbooks, not necessarily data-driven, and some specific details of the sled dogs need to be added on this basis.
The final creation is to customize the muscular system and the skeletal system, use Ziva Dynamics to create the muscle and fat system, Maya's nCloth to create the skin, the fur tool Furball to handle grooming, and Houdini vellum to handle the hair follicle dynamics.
The production team found that a lot of fur movement actually comes from fat. The fur itself is very stiff and will not twist left and right. Instead, fat and muscles move around underneath, forming a feeling that the fur is moving. Of course, it also needs to simulate the effect of pulling the fur after putting on the protective gear for the sled dog.
A Guide to the Career Growth of VFX Compositors(2)
You must have learned about What is compositing, Six basic skills of compositors, Standards for cinema-level film compositing requirements from The Guide to the Career Growth of VFX Compositors(1). Now, your TPN_Accredited cloud rendering services provider, Fox Renderfarm, will still lead you deep into the career of VFX Compositor.
Part 4 Workflow specification of compositors
Because the workflow of each company is different, and even the operations of everyone in the same company will be various, it is difficult to have a unified workflow. I am here to share the basic process of a compositor making a shot from beginning to end.
The first step is whether to perform color conversion after the material comes in? How to deal with the conversion? It is usually set by the compositing director.
The second step is to create a variable speed and camera redefinition repo, which is specifically compared with the editing sample, and we make the same settings as theirs. If there is a green screen, and then there are tracking points on the green screen, the tracking points need to be erased. If there is no green screen and need to add something, it needs to do keying and Roto. And sometimes it even needs to quickly do some 30%, 50%, or 80% keying to prepare for the back.
The third step is to do the creation of 2D elements or increase the environment, characters, props and other elements output by the 3D department. According to the six basic skills mentioned above, making the first version, and then the director and client will give feedback after checking. Then compositors modify the project according to the feedback.
After completing the detailed processing and final inspection afterward,if there is no problem, it will be converted back to customer needs and the delivery documents are sent to the customer. The technical inspection above refers to verifying according to the standards of the cinema-level movies mentioned before.
Part 5 The five stages of the compositor's career
I roughly divide the career of a compositor into 5 stages, including junior compositor, senior compositor, compositing team leader, compositing supervisor, compositing director.
The work done by compositors is more art-oriented. And in the process of accumulating technical capabilities, they will continue to improve their artistic capabilities without worrying about losing their jobs.
For junior compositor, it is not easy to define by seniority. It’s more about ideas and how it realizes? It is recommended that those newcomers could explore the six basic skills, learn online, and practice at work.
When it comes to the senior level, more work is focusing on judgment on whether it is possible to independently complete a shot and where to do compositing. The senior compositing should be able to find these problems and have the team leader or supervisor to communicate.
The next stage is the compositing team leader. Some people will be confused that what is the difference between leader and supervisor? Like Base, there are many employees, and each project may have 5 to more than a dozen compositors, and even more, there will be team leaders and deputy team leaders. For small studios, the team leader may be the supervisor. The team leader serves the supervisor, the director and artists. At the same time, it needs to has a good sense of teamwork and serve the project well in the management of small teams.
At the supervisor level, the responsibilities are more about the management of the artists, finding more suitable artists for the department to become senior artists or project leaders. At the same time, we must continue to add new skills training for the team; of course, there are staff who are inappropriate, the supervisor should find out the reason and see if they can continue to grow together. If so, how to continue, etc.
The fifth step is to become the compositing director. At this stage, The focus will put more on the process of the project, etc.. The director will develop corresponding plans for different projects, including pre-stage, post-stage, setting and feedback of the 2D process effect, as well as auxiliary visual aids in departmental projects.
Many people will ask if it is possible to change directly from team leader to director? If you are a team leader, you can actually do the job of a supervisor. If not, I personally feel that there is a missing piece. Because the head of the compositing is basically in the group, but the director of the compositing needs to deal with the leaders of other departments.
What is the difference between these 5 positions in the actual process of doing the scenes? For example, both junior compositors and senior compositors can make a good shot, but the number of feedbacks received, versions, completion time, details, ideas are all different.
However, as a team leader, it needs to consider whether the entire plan is feasible and whether the entire color is unified. It’s also important to communicate well with each artist or do an effect test. After becoming a supervisor, it is necessary to consider whether the whole scheme is efficient? If as a director, it needs to be connected with the customer, decide whether to use 3D or 2D, control the quality of the project, and consider whether the cost is feasible. In short, the more you go up, the wider the scope of management and the greater the responsibility.
A Guide to the Career Growth of VFX Compositors(1)
As the leading cloud rendering services provider in the CG industry, Fox Renderfarm has an outstanding team with over 20 years’ experience in the CG industry. Team members are from Disney, Lucasfilm, Dreamworks, Sony, etc. With professional services and industry-leading innovations, they serve leading VFX companies and animation studios from over 50 countries and regions, including two Oscar winners.
In this artichle, we will share a guide to the career growth of VFX Compositors from Zhiyong Zhang, Compositing Technical Director in Base FX(Base Media is the leading visual effects and animation studio in Asia).
Part 1 Introduction
What is compositing?
There are many different explanations about compositing on the Internet. Since it's difficult to explain, I would analyze compositing from some shots.
Like the scene in "Monster Hunt", the foreground is made with a 3D model, and the background is made with a combination of the original paintings and pictures. That is to do some MP, color adjustments, elements setting and real shot adding. Finally, all the pictures are going to be integrated, which is a compositing process.
The professional value of composting Compositing is the last part of the visual effects in the later period. You need to blend and match three-dimensional things with the real shot through compositing techniques and methods. Through techniques and methods, add some 2D or 2.5D elements to make the picture more interesting. Compositing is making the projects that the entire visual effects team makes. Hence, compositors are responsible for the entire team, striving to adjust the project to the final optimal effect. This is the professional value of compositing.
The artistic charm of composting
For me, every adjustment on color, virtual focus, interactive light and others will make the scene more realistic or better-looking. Every step of the operation will improve the scene, bringing the compositors hope and happiness. It is awesome to do better in the time allowed and finally show something beautiful. This is the artistic charm of composting.
Part 2 Six basic skills of compositors
The first basic skill is erasing. Many scenes have tracking points when shooting on the green screen, or there are some things that can’t be removed from the scene. We need to do erasing, which is very basic but important.
The second skill is rotoing and chroma key. The chroma key is to keying the green screen. There is also a key called no green screen keying, which is the rotoing.
The third skill is to match colors. Adding an element to the real shot to change the color of the material is actually matching the material, not creation.
The fourth skill is to match the virtual focus or depth of field. The material itself will actually have virtual focus, so the compositor needs to also be good at photography, otherwise, it may become a bottleneck for the compositor. The ideas of the director and the main photographer will be presented in the scenes. We use compositing to re-express what they want to express in CG. We are doing matching rather than recreating.
The fifth skill is tracking. Most compositors do 2D trackings, such as billboards or on-screen patches. And sometimes they also do 3d tracking.
The last one is the matching noise. For some demanding projects, it is necessary to switch between red, green, and blue screen, or even zoom in to the local area for comparison. It also depends on the broadcast platform. Generally, if it is broadcasting on a TV platform, the noise is not easy to see the noise. If in the cinema, as long as the brightness of the cinema is large enough, the noise of some scenes can be easily seen. The noise matching can make the picture more realistic.
Part 3 Standards for cinema-level film compositing requirements
The standards here are not officially stipulated standards but are just some common standards that I personally summarize based on experience. I divided the cinema standards for film compositing into two types: technical requirements and artistic requirements.
First of all, it depends on whether the color of the original material is changed. If you are not careful or have moved other parts of the screen including the color of the material for other reasons, it may cause customer dissatisfaction.
Secondly, whether the maximum and minimum values of the screen are consistent with the material or not. Of course, the maximum and minimum values are not for a certain scene, but for all the materials of a project.
Thirdly, whether the metadata is correct or not. If the editing requires metadata to be accurately restored, it needs to be correctly restored to the material. Generally, at the beginning of the project, it needs to agree with the previous DI or editing on how to set back.
Fourthly, whether the shifting is stuck will also be a technical requirement. The shifting should be discussed with the editor. If the editing does not require any shifting, even if it seems to be stuck, it may be a fast switch of the front and rear scenes. This is one kind of editing methods. if you do something to make it smoother, re-reverting to the clip may cause problems. The last is whether there is any obvious flaw in the picture. The so-called flaw is whether there is a black border on the edge of the picture and whether the edge of the real shot is stretched.
The artistic requirements will be significantly different from the previous technical requirements. We will check whether the details of the keying edges are enough to maintain the authenticity of the picture. In the normal budget, the details of the edges can be kept authentic. If the edges look fake, it may make the whole picture fall short.
Whether the bright and dark parts of the screen is matching with the material within the acceptable range? The dark and bright parts here refer more to brightening everything in the viewing facility, to see if the added thing is the same color as the real shot and whether the degree of the color cast is the same. Without considering the budget, as a compositor, the only requirement is to do something better, so try to match it.
Then, whether the compositing elements, the virtual focus of the background and the depth of field match the real shot. The depth of field of the real shot sometimes will be very shallow, sometimes it will be very deep. Generally, there will be a range, this range is taken by the lens and the camera. We can add an element in it, and change the depth accordingly.
In addition, we must also consider whether the simulation of the lens effect meets the real shooting standard. With a normal lens, the virtual focus is 1:1, and with an anamorphic lens, the virtual focus is vertical, similar to 2:1 circular virtual focus. While doing compositing, it needs to pay special attention to matching.
The next thing to consider is whether the addition of smoke, flame and other atmospheres is truly fused. The light and shadow, the virtual focus and the sharpness are matched with the whole, and the things that really melt into it are realistic.
The last thing is to consider the interactive effects, the corresponding interaction between the real shot material and the CG elements. When we do the compositing, in addition to shadows, there are some light interactions, we should consider whether to add them.
In the process of compositing, we need to give ourselves the opportunity to exercise and do more fine, otherwise, we can't make progress. In fact, the audience is very smart now, watching a lot of blockbuster movies. Therefore, we should try our best to be realistic in the time cost of cinema-level movies. If the audience feels satisfied in the cinema, it will be successful.
First Man Won The Oscar Visual Effects,But, Where Is Its VFX? (2)
Undertaking ‘First Man Won The Oscar Visual Effects, But, Where Is Its VFX? (1)’, many people may wonder why the wonderful travel outside the earth is so realistic.
First Man DFX supervisor Tristan Myles said in an interview that director Damien is trying to balance the visual effects of each shot to avoid the appearance of a particular lens, or let the audience find it to be a CG lens at a glance.
In order to let the audience immersively feel the width of the moon, landing on the moon, the surface effect seen at the moment of opening the hatch, all shot from top to bottom. The lunar area was shot in a quarry on the outskirts of Atlanta, especially like the "moon" surface. There are all kinds of rocks around, as well as craters. After shooting, you can remove some dust through the digital effects link, which will be more like the environment of the moon.
CG production team has a major mission
The CG team produced a model of the aircraft for the film. For some wide-angle lenses, the team needed to design 3D assets that fill the lens content; the medium and close-up lenses used miniature models and full-size models. The post-effects team also needs to fill the lens with some CG content.
One of the most important assets is the Genie target aircraft, which is orbiting the earth along the orbit and docking with the ATV. At the shooting scene, there is a model of the mating vertebral body. This model can't be controlled by the device. Only the manual position can be used to match the shooting needs. After the team gets the footage, it is projected onto the CG model to restore the real effect as much as possible.
Many people will ask what the moon is made according to? Good question. In fact, NASA has a lunar orbit survey orbiter in reality. It can be simply understood as an aircraft that orbits a sphere along an orbit. It is used to detect and scan the surface of the moon and collect data. The special effects production team was fortunate enough to get these detailed data, based on which the real effect of the lunar surface was produced.
Three little stories to understand before watching
The film's story comes from James Hanson's non-fiction book, The First Man: The Life of Neil Armstrong, which was first published in 2005. It is Armstrong's only official biography. This book tells the story of Armstrong's participation in the space program and shares the details of his personal life.
The scriptwriter Josh Singer spent four years researching the script, and spent several months talking to former astronauts and NASA stakeholders, as well as communicating and understanding with Armstrong's family. Singer believes that "objectively and truthfully presenting facts is a huge responsibility."
Ryan Gosling is the director's first choice. Although the two had worked together before, the first time they met was for First Man, far ahead of La La Land. In the director's mind, Ryan Gosling is the only actor who can do this role.
Finally, let's take a look at some of the footage.
This year's Oscar has no host, and it is also a peculiar way of organizing. The awarding process has also been simplified. Although it is not possible to win an award for each selected work, it can be nominated and is also recognized, congratulations to all the winner in the 91st Oscar Academy Awards.
How To Train Your Dragon, Let’s Say Goodbye To It With Smile
How To Train Your Dragon: After the Hidden World was released in North America, the rotten tomato freshness started at 100%, and it still maintains 92% freshness and has an amazing reputation. It received 98% of the high scores on the famous movie review website Rotten Tomatoes based on 205 professional reviews, and scored 7.9 out of 10 points.
At the box office, it won the best start of the series with a score of 55.52 million yuan in 3 days, and successfully broke the record of the first weekend box office of the North American cinema this year.
Let me describe the mood after watching the movie, it can only be a tear in laughter. Like the sad and full of hope in the movie, it not only makes Hiccup growth up, also teaches the audience to bravely break the fear of the unknown.
As a person who looks at the How To Train Your Dragon series, I feel empathy for all joy and sadness. Ten years ago, the first time the first series of the series landed on the theater, it was amazing for thousands of viewers.
The Hiccup and Toothless stare at each other, and the carefully touched stills have become countless fans who don't become desktop wallpapers all the year round.
For many audiences, the film represents love and courage.
In my opinion, How To Train Your Dragon can become a unique animation series, but also it creates a world of crisis and fun, with a thought-provoking world view.
In other animated works, heroes and villains are usually distinct and can distinguish between justice and evil at a glance.
Human beings often represent upright justice, so the "braves" will be born; while the dragons symbolize destruction and disaster, often defined as "dragons" and will be expelled.
In the world of How To Train Your Dragon, the dragon looks fierce and fierce. In fact, it is pure and loyal. On the contrary, it is human beings. It has an indomitable, brave and good-war side, as well as a temperamental and difficult-to-communicate side.
The Vikings were enemies with the dragon for generations and were proud of the pursuit of the dragon.
No one knows why, no one wants to find out whether a dragon is good or bad, only knowing to do it according to "tradition".
It is in this sharp opposition that a miracle happened.
The legendary Loser Hiccup met a wounded dragon.
He did not hesitate to destroy the tribal tradition of the dragons for many years, chose to help it, and even tamed it.
One person and one dragon establish a friendship that spans the race.
Hiccup also gave the dragon a lovely name, "Toothless"
At the same time, he also realized that the dragons in the world are not all evil. There is no need for humans and dragons to fight for you.
Is it possible to create a world where people and dragons coexist in harmony and understand each other?
And what is the relationship between man and dragon?
This issue runs through the beginning of the How To Train Your Dragon series and leaves a lot of places for the audience to think about and to relish.
If the first two parts, Hiccup and Toothless are from "taming" to "comrades", then the story of How To Train Your Dragon: The Hidden World makes me completely forget the word "taming".
The film is overflowing with the warmth of companionship and the courage to grow.
Hiccup, who was weak in the past, has become the chief of the tribe.
He led the people to govern the "Berk Island", the hometown of the ancestors of the past dynasties, and lived a life far from the world.
Moreover, not only is Hiccup growing alone, but Toothless's growth is also significant.
It is no longer an existence that is considered a pet, but an independent individual that is trustworthy and worthy of dependence. Its friendship with Hiccup is based on equality between the two sides. At the same time, the tribe and the dragon also turned the enemy into a friend and lived in harmony.
They will travel around the world to save the dragons captured by humans.
The film presents an equal and friendly atmosphere between the person and the dragon, which makes it difficult for the dragon to change from a spoiled or mysterious label to a living "person".
Berk Island became a utopia in which the dragons live, but hidden threats are everywhere, on the one hand, humans outside the island are still hostile and fearful of the dragons; on the other hand, Berk Island's target is too big, there are too many dragons on the island, and they have long been eyeing the Dragon Knights.
There is no shortage of cool professional and unscrupulous guys in the Dragon Slayer, which is likely to pose a huge threat.
Nowadays, the island is not safe outside the island. If you want to keep thousands of dragons, you can only find a refuge where the map is not marked.
This place only exists in myths and legends. It is said to be at the end of the world and is also the place where the dragons originated.
Once you find Hidden World, the dragon on Berk Island will be properly placed.
However, the beauty of Hidden World also means that the returning dragon will not return to the human world.
Have Hiccup and Toothless, who have been with each other for many years, finally have to leave each other?
The story is set to this, the world view is shining again -
It can be said that the most touching part of the whole series is to accept, is to explore a theme of "crushing prejudice, tearing off labels".
How To Train Your Dragon: The Hidden World re-emphasizes the theme.
In the film, all the dragons were born in "Hidden World". From the source, they are not our world, but the "guests" from afar.
They are actually full of personality, master very complex language, and have emotions of emotions, anger and sadness...
People in Berk Island know that they are not terrible and can live together in peace.
For humans outside the island, these natures are irrelevant; many people refuse to communicate with this mysterious creature, simply rudely classifying them as "heterogeneous" and classifying them as "aggressors."
From this point of view, isn ’ t the way in which human beings treat the dragons in the movie is the epitome of the attitudes of the masses in the real society that treat marginal groups, special groups, and dissidents?
Color discrimination, geographical discrimination, gender discrimination, and prejudice caused by the gap between the rich and the poor, different living habits, and different occupations.
Behind all discrimination and prejudice, there is arrogance hidden.
These prejudices will not only escalate the conflict, but also make it more horrible.
In the movie, the humans regard the dragons as deadly enemies and consider them to be evil and devastating. The concept of "the evil dragon must be removed" has been passed down through generations and rooted in the hearts of the people.
Fortunately, Hiccup appeared to break the deadlock between man and dragon.
But why is Hiccup?
The reason is not complicated -
Because Hiccup is also a "heterogeneous" in the eyes of the people.
He is the son of the most brave patriarch of the Vikings, but he is physically weak and slow.
Everyone thinks that he is a waste, has no value, and even he himself is so sure.
Because the body will pass the pain that is not accepted by everyone and cannot be self-identified, the kind Hiccup will try to accept Toothless who has been hurt by the world as a "dragon".
They are also weak and helpless. In this world full of dragons and violent brave, it is difficult to support.
Being able to be a partner, perhaps seeing his own shadow in the other side.
On the other hand, the tribes who have always advocated the use of force and physical strength, witnessed the talent of Hiccup's taming dragon, and his ability to strategize, also showed a convincing acceptance.
Even after Hiccup was still not strong enough, even after lo
sing a leg in the war, the tribe no longer made fun of him with physical defects.
The Berk Island people are actually growing up and learning to communicate with people who are not similar to themselves.
In most cases, communication and acceptance are not easy, and even cost a lot –
Hiccup's partner with Toothless means that he is likely to be an enemy of the tribe, even with all mankind;
Berk Island is the world's dragon, and it may be regarded as a "devil's lair" by the world. The people will be treated as evil devils.
Fortunately, the film always has a goodwill.
It allows each person to be willing to let go of their arrogant, understanding other people's roles, and ultimately achieve self-worth, but also tell the audience:
Follow the sound of inner integrity and listen to the voices of all kinds of individuals in the world.
They are not terrible, maybe they are so cute.
The ending of the How To Train Your Dragon novel is that all dragons return to Hidden World and completely disappear from the world.
However, after being adapted into a movie, the masters gently presented the audience with a blank of fairy tale.
How To Train Your Dragon: The Hidden World continues the past style, with many relaxed and humorous plots and brain-opening scenes, but my favorite is also the most impressive, always the details of getting along with the dragon.
Hiccup teaches the soothing bridge of the Toothless sister, the brave gesture of Hiccup and Toothless, and the last hug of Hiccup and Toothless...
I remember that when they first met, Hiccup tried to touch Toothless, but he didn't even have the courage to look at it.
Nowadays, they all grow up, learn to accept, and understand: our hands, in addition to work, battle, and one of the greatest functions - hug, isn't it?
Go hug the one you love, what you feel is the temperature of this How To Train Your Dragon: The Hidden World.
Metaphor in Alita: Battle Angel
On February 22nd, the film Alita: Battle Angel was released in mainland China. The film was adapted from the sci-fi comic book Gunnm published by the cartoonist KISHIRO YUKITO in Japan in 1991. The original work not only has a great historical background, but also has a story about in-depth discussion of human nature, memory and social issues.
I haven't read comics. It's said that the film' s reproduction of the film is very high, but I can be sure that the adapted film is a success. The humanity, society, and future issues discussed in the film are not 20 years old. I feel outdated.
Alita's Movie World: A Real World Mapping
The story takes place in the post-apocalyptic era after the collapse of the 26th century civilization. After the Battle of Heaven, there is only one Sky City left in the world: Zalem; there is only one city left on the ground: Iron City, where the survivors gather around the world, humans and mechanical reformers live together in the abandoned Iron City below Zalem, looking forward to I can go to Sky City to live.
In the world of Alita: Battle Angel, there are also three spaces like heaven, earth and hell. The highest level is the sky city Zalem, the middle is the Iron City where ordinary people live, and the underground is the devil's residence.
Nova, who is in charge of Zalem' s supreme leader, is full of eyeliners in the world and seems to know everything. Through the organization and shackles on the ground, the factory and Vector, the rules of the earth to rule the world on the ground, and even the underground demons are under his control.
In order to maintain the stability of the rule, the factory does not allow Iron City people to have weapons that can threaten Zalem. Those who break the law will be rewarded and be chased by bounty hunters. It can even be said that people will not even have the idea of "resistance". Everyone is involved in the maintenance of this evil system, and resistance is only a very small number of people.
Such a well-conceived movie world is quite a taste of political fables. In other words, political fables are one of the foundations of science fiction movies, and politics (human rule) is a metaphor for the rule of God. So a good science fiction movie is more or less looking for God or the kingdom of God.
Although the film is not burning, the narrative is not complicated, but the world view constructed by the film is quite complete.
I watched this movie twice. The film does not construct a new world. The scenes, humanity, rules, and worldviews are all moved from our world.
Perhaps the key to sci-fi movies is not to build a lame world, but to hope in the real world through futuristic language, to explore the future, but to open up the desires of the people and explore that real and reliable hope.
In this world, human beings are like a "junkyard" with no trust, no virtue, and a weak flesh. People are disappointed with the real world. Entering Sky City life has become the only hope. People trade through the black market, earn hunters' bounty, participate in the mobile ball contest... and win the opportunity to go to Zalem at any cost.
Seeing their determination to dream, looking at Zalem every day, meditating on the future in the sky, I feel embarrassed. In contrast, my hope for heaven is so weak.
Science Fiction Movie: Futurism? Still realism?
From the movie category, this is a sci-fi movie, maybe it can be labeled with action movies and romance films. Of course, a mature story will not only discuss one problem.
Some people say that the plot of this movie is very old-fashioned and illogical. The protagonist has a thick aura, a single love line, and a narrative. If you just think of it as a science fiction film, you can't tangled these details, but from the perspective of science fiction, this Alita: Battle Angel is not too surprising. Interestingly, however, if you look at the film from the sci-fi category, you will find it very different.
I have to admit that this Alita world is like the world we live in.
All good movies and stories have realistic meaning and humanistic care. Science fiction films are no exception. Of course, this is only my personal opinion. Instead of Alita: Battle Angel is a science fiction film, I prefer to think of it as a film combining realism and romanticism with special effects skills.
So a sci-fi movie like Alita: Battle Angel, futurism is the carrier of narrative, realism is the connotation, responsible for the essence of the narrative. Of course, the main attraction of science fiction films is futurism, which cannot be ignored. The New Yorker magazine commented on this: Alita: Battle Angel's futurism is far more substantial than the world of Ready Player One.
My views are roughly similar. In science fiction movies, the two should be equally important, but for those who watch movies, perhaps more important is to see the reflection of the real world.
Prototype and metaphor of the science fiction world
I don't know if the setting of the movie world is unique. All the characters, events, and scenes remind me of the world of biblical revelation.
Alita represents justice against evil. She is the only survivor of the Fire Union, carrying the task of defeating Nova to destroy Zalem. Perhaps the battle of three hundred years ago was the encirclement of human evil forces?
Although the fire union defeated the end, Sky City has only one left, but from the situation three hundred years later can also see the post-war Sky City tightening of the ground control, and even the Fire Union is portrayed as an enemy.
In the world of Alita, she is the "savior", not only the evil, but also the "redeemer" of the people around her. For example, Dr. Chiren's transformation, she was extremely selfish in Nova's eyes, unscrupulous for the purpose, but was demoted by Alita and withdrew from the evil camp. And Hugo, his freedom from accomplices to conscience, is the result of Alita's redemption.
High-quality sci-fi movies are more or less in the discussion or interpretation of the theme of salvation, which in turn is related to the achievements and depth of the film.
What is really powerful for Alita is her essence. As Nova said, this powerful power does not come from her body, but from her heart. The ability and memory left by the "previous life" have been leading her, and the battles have gradually reminded her of her identity and mission, and finally remembered everything after her "resurrection."
The most crucial battle in the movie was a battle between Alita and Grewishka at his home. Before entering the underground, Alita smeared the cheeks of the stray dog that was murdered by Grewishka and repeated, "I can't stand by in the face of evil."
In the underground battle, Alita almost died for a lifetime. Finally, with the help of Hugo and others, he escaped from the clutch and his body was completely destroyed. Then, Ido changed his mind and put Alita on the body that matched her strength. This is the rebirth of Alita and the resurrection of the dead. Really changing the people around Alita is also Alita after the "resurrection in the dead."
This crucial battle made Alita "fall in the underworld, better than death", but when he came back, he had the most powerful ability in the world.
Hugo, in my opinion, is the first supporting role, and his relationship with Alita also constitutes the main clue of the film. If the father-in-law Dr. Dyson Ido brings Alita into the world, Hugo is the one who really accompanied and led Alita to grow up.
Hugo was originally a street gangster, specializing in robbing the parts of the man (semi-robot) and selling it to the black market. Until one time, Hugo and his partner were hired by Vector to dismantle Kinuba's powerful new weapon. But this claws happened to be in the hands of Grewishka by Dr. Chiren, and Alita's life was almost in the battle of the underground. Hugo is condemned in his heart, and the transformation begins here.
Hugo then worked with Vector again to scam Alita into the arena and enter the almost dead trap. Perhaps Hugo didn't know Vector's conspiracy. He only played the role of Judas. After seeing the conspiracy, he decided not to do anything for Vector, and then completely repented.
At the end of the film, Hugo said the last sentence to Alita before he died, "Thank you, save me." Obviously, he refers to the awakening of his own soul (conscience).
Spiritual awakening is the highest level of salvation.
Of course, other characters are also worthy of analysis. This is a group of poor people, wandering, but dreaming of going to heaven, just like us.
Perhaps Alita: The Battle Angel team didn't put too much energy into polishing the story. The narrative was relatively peaceful, there was not much tension, and the plot transition was more common. The old-fashioned ending seems to also reveal the hope of the people in the real world.
In fact, what they really need and really pursue is not in Zalem, just as Dr. Chiren finally said when he rejected Vector. Zalem is only a desire in the human heart, and the biggest one. The essence of this desire is to escape from reality - from the control of God, into the sky city to replace God (or sit with God), the result of this desire is to perish, no one has escaped.
The film itself is not that important, but the reality of care and transcendence pursued by the film is worthy of repeated chewing.
Marvel Has Released A New Poster For Spider-Man: Far From Home
A few days ago, the movie Spider-Man: Far From Home exposed a new poster, Spider-Man, who was resurrected in Avengers: Endgame, alone in the roof, thoughtfully, after the death of his mentor Tony Stark in the final battle, can the Spider-Man face the battle and fight against the strong enemy independently?
In the new poster released this time, in the quiet city night, Spider-Man in a Iron Man's suit is alone on the roof, his eyes looking into the distance, thoughtful. Behind him is a huge Iron Man’s inkjet, open palms exude a dazzling light, seems to be behind Spider-Man, giving him a steady stream of support and strength. As knows for us, Spider-Man, who has just experienced the final battle of Avengers: Endgame, is still immersed in the infinite thoughts of Iron Man. In the war, he lost the most important mentor in his life, and he was exhausted. He was wearing a Iron Man's suit and he couldn't help but feel confused before the Iron Man sprayed. In the face of the people's most concerned questions, "Will you be the next Iron Man?" Spider-Man actually only wants to be a neighbor Peter Parker. However, the will of Iron Man has already penetrated into the bone marrow. In the face of the aftermath of the Thanos and the new crisis in Europe, Spider-Man is bound to choose to be ready to go and fight independently.
Spider-Man: Far From Home is directed by Jon Watts, stars Tome Holland as Peter Parker/ Spider-Man, alongside Jake Gyllenhaal and Smauel L. Jackson, etc.. The film continues the Avengers: Endgame storyline, it is intended to be the sequel to Spider-Man: Homecoming(2017) and the twenty-third film in the Marvel Cinematic Universe. While cherishing the Iron Man, Spider-Man will travel to Europe to resolve the new crisis, which is scheduled to be released in United States on July 2, 2019, in 3D and IMAX.
The VFX History And Future, Let’s Talk About The Invisible Effects In The Movie(2)
For the creation of the environment, it can meet the requirements of the character living environment in the story, and also save the cost and time required for real shooting. The VFX effect shown in the picture was created by Brainstorm Digital, and everyone will not be unfamiliar with this team. In addition, there are some "invisible visual effects" lenses even in some visual effects movies. For example, the Avengers series, all the story shots in New York City were shot in front of the green screen. According to the director of the industrial light magic visual effects, if such a lens really wants to shoot in New York, it is really a little hard. Not only must the streets be blocked, but also the passers-by must be controlled; if you shoot, you have to use a helicopter, but you can't fly too low. So the Industrial Light and Magic team produced about 2,000 spherical images through more than 250,000 photos, reconstructed nearly 20 buildings in the huge New York City, and replaced the green screen with New York numbers using 3D modeling and camera projection. Scene extension effect. Needless to say, the effect is absolutely true. Scene extension is one of the most common types of technology in "invisible effects". It is often seen in the production of TV series, and the production budget designed by live shooting is not too expensive. The most typical example is Ugly Betty, who won the 64th US Golden Globe comedy series in 2007. I have seen the little friends of this drama do not know that there is no such thing, it involves a lot of scene extension effects. The episode effects were created by Stargate Studios. With the continuous advancement of technology, "invisible visual effects" have shown new uses. In the film Captain America: The First Avenger, the main character Steve Rogers needs to transform from a thin "little guy" into a muscular superhero, and Chris Evans, who plays the US team, is also the same. It is a handsome muscular man. The production team did a lot of conceptual script testing, and the filmmaker recalled that in the scene where Steve was born again, “the door opened, many viewers expressed surprises. “Hey? How does he have muscle?” 'How does the muscle add to it? Actually, muscle is not a special effect, and the thin Steve is a special effect." Therefore, under the efforts of the stuntman, meticulous preparation and digital synthesis, we have seen two different figures of the same person, and also added the weight of the story to the story as a “stealth special effect”. With the continuous improvement of production technology, the simple "changing head" can no longer meet the project requirements, and then there is a "reverse growth" production, which can make the actors in the film younger than the actual age. For example, in Ant-Man and the Wasp, Michael Douglas, who plays the role of a generation of ants, Dr. Hank Pim, with the help of visual effects and digital effects, the effect of "reverse growth" is very real. The same technique has been used in the TV series Westworld, which we have already shared in the previous article. The Swedish-based VFX team, the Important-Looking Pirates, gave Anthony Hopkins a "reverse growth" process. In the film Captain America: Civil War, the "reverse growth" technique that brought Robert Downey Jr. back to his 20s was the ultimate. Although it can't be called "invisible visual effects" in the true sense, the audience will certainly realize that these young looks are made through complex techniques, and indeed lead a new direction - digital human characters. As for the digital personas we have also introduced before, although there are many attempts that are not successful, they do exist. Through technology, people can create a realistic 3D face model, and sometimes it is true that it is true or false, but once it is moved, the problem comes. For example, Terminator Genisys. The young Schwarzenegger 3D model doesn't seem to have anything wrong, but it's a bit of a talk... because facial expressions are still very complicated to handle, and any subtle but unnatural change can be seen by the human eye. from. The most successful digital character is Rogue One: Princess Wilhelm Tarkin and Princess Leia in A Star Wars Story and Rachael in Blade Runner 2049. There is also the Children of Men, directed by Alfonso Caron in 2006. The newborn in the lens is completely digital, although you may not notice this, but it does allow the audience to feel the whole story more immersively, while avoiding the uncertain problems of using newborns. The development of “invisible visual effects” experienced simple element replacement, scene extension, and face changing. The reverse growth of actors or the reappearance of the screen of the deceased actor and the appearance of digital characters brought the film’s rendering effect. Unlimited possibilities, we are also very much looking forward to visual effects and non-visual effects technology to continue to develop.Photo From: ?v=KByPitOaG0U
The VFX History And Future, Let’s Talk About The Invisible Effects In The Movie (1)
When you talk about visual effects and CG production, the first thing that comes to mind is the cool masterpieces that are heavily invested, costly, and synthesized by computers. The world, characters, and monsters in those movies. The effect is realistic enough to make it stand out. To be honest, it's hard to find a movie or TV series that doesn't contain any VFX production. You may refute this point of view because there are a lot of visual effects that you might not notice. These parts may seem ordinary, but they are crucial to describing the story. We call it invisible effects. Today, let's take a look at its history & future. For the first time, the term invisible effects should appear in the 1994 film Forrest Gump. Even such a biographer/inspirational film contains 120 visual effects shots, which makes people have a new understanding of the Industrial Light & Magic, and sent the ILM to the Oscar. When we first watched Forrest Gump, we couldn't immediately detect all the visual effects shots. For example, the opening of the film, the lens followed by a feather fluttering, fell to the role of the foot. Needless to say, everyone knows that this lens is impossible to achieve by shooting alone. What is the real situation like? I took a feather and floated in front of the blue screen, made an animation, synthesized it onto the original material, and let the CG feather fall to the position of the real feather. It was then Tom Hanks to pick it up. An important episode in the Forrest Gump is that one of the protagonists, Deng Taylor, lost his legs, which is undoubtedly a special effect shot. First, wrap the actor's legs in blue cloth and wipe off your legs during production. There are also some elements that are added during post-production. For example, this piece of table, this part of the wall, is exactly where the actor's legs will meet. Another audience that is less likely to notice is the shot of Forest Gump playing table tennis. In fact, there was no table tennis in the whole process of the real shooting, and the actors and actresses were there to perform in the "cloud". As for table tennis, it is all about post-production and smashing, including the lens of Forest Gump's dedicated training, and finally, it shows a real and smooth effect. Nowadays, visual effects are also widely used for the production of a large number of people. In Forrest Gump is the use of digital synthesis, showing the effect of hundreds of people, quietly, but in fact, there are only more than 1,000 extras on the scene. These people took several shots in different places and then synthesized them into a scene. To say that Forrest Gump is a bit far from now, let's adjust it a little closer. For example, the film The Wolf of Wall Street, directed by Martin Scorsese in 2013, is also an example of the ultimate use of Invisible Effects. Let's take a look at the following visual effects analysis to fully understand it. In fact, it is a scene extension of the main screen. For more, coming soon...
VFX Break Down of 'Game of Thrones' Final Season
The final season (eighth season) of "Game of Thrones" ended on May 19th, which accompanied many people for eight years, but did not wait for a convincing ending. The Night’s King hurried off the line, the mother of dragon（Daenerys） was blackened... According to the news of the Global Daily official, many netizens expressed their disappointment with the final article, and millions of fans around the world rushed to retake the ending. Netizens said that "there is no original, the scene is completely out of control." "The play of power" "I want to send the blade to the scriptwriter", and the screenwriter David Benioff shut down his personal Facebook account.
I heard that many people did not plan to see after the fourth episode, but the visual effects of Game of Thrones are obvious to all, and it does not affect us behind the scenes. In the final season, the visual effects team also spent a lot of thoughts during the production. The net flyer set budget is $15 Million. The render farm Fox Renderfarm was excerpts the classic picture of the final season, and shares the story behind the scenes in the following. Winterfell I still remember the little boy who appeared in the trailer, looking at the mighty army of Daenerys. This scenes was also done by visual effects.
The part of the Night’s King burning totem, originally thought to be the visual effect, did not expect to ask the stunt actor to take the real shot instead of the little boy, the visual effects team made a fire mask for this, let him be engulfed by the flame for nearly 10s, watching it is real dangerous.
The most impressive thing in this episode is that Jon Snow tamed another dragon of Daenerys, Leiga, these pictures are by the visual effects team in the sports base the action of the dragon is matched in the green shed, and the camera rotates around to complete the shooting.
The icefalls that Jon Snow and Daenerys dated were also real, but they were transplanted for the sake of more beautiful pictures.
A Long Night The approach of the Death Corps made everyone in the Winterfell nervous, this episode is "black", but it is still very bright from the scene. This episode has been filmed for 11 weeks in the snow night, all the staffs starting work at 6 pm every day until 5-6 am on the next day.
This episode of physical special effects props is more, you can see from the picture the death army on the floor, including many flames, smoke, snow and ice effects.
The mask of the stunt actor is also a prosthetic model designed in advance, and the makeup looks very realistic.
This section of Lena and the Giant was completed by the visual effects team through miniature models, actors' real shots and visual effects. This shot was taken many times and finally presented in front of the camera.
The ice dragon is made very fine. In order to make the dragon flame and the dragon look more harmonious, the props are also used to simulate the dragon's movement.
The shot that the Night’s King was killed in one second, to better for the production. The shed and the real scene were filmed.
The Last of the Starks
After the war, everyone in the Winterfell gathered together and bid farewell to the friends who died on the battlefield. The bodies of the soldiers were piled up and then ignited by the unity.
Cremation is a difficult task. How to control these fires without harming the actors is very elegant in design.
After the real shot, it also made a visual extension through visual effects.
Euron’s shooting at the sea with the "scorpion" was also completed in the green shed.
At the same time, Daenerys’s ship was destroyed and the actors were once again in a completely digital scene to show how the ships were destroyed, where people are standing, walking or talking on the ship. Finished on board.
The Bells The toughest set of shots in this episode is that the gates of the King’s Landing are destroyed by Drogon's dragon flame, covering eight cameras. In order to express the complexity of the destruction of the walls, these lenses need to show different perspectives of the explosion. At the beginning of the design of these buildings, the film crew also designed damage.
In this episode, six stunt performers were actually lit in multiple layers of protective clothing and masks. After the filming, someone took a total of 22 fire extinguishers to fight the fire.
As can be seen from the model produced for King's Landing, there is a large tower on one side of it, which is also the location of the story below.
Cersei and Jaimes were in their end in the King’s Landing’s cellar.
Nine major families, seven kingdoms, hundreds of people trapped in them, are firmly bound by the network of destiny, and there is a destination. Here, the cloud rendering service Fox Renderfarm just summarizes the classic clips from the videos released by HBO. And also thank the Game of Thrones for companionship over this years.
How to render large scenes with Redshift in Cinema 4D
Arnold\ V-Ray\ Octane\ Conora\ RedShift, Which Renderer Is The Best?
How to Render High-quality Images in Blender
How the Redshift Proxy Renders the Subdivision
China Film Administration Release New License Logo
Maya 2018 Arnold's Method of Making Motion Vector Blur in AOV Channel
Corona Renderer Learning - Denoising
Redshift for Cinema 4D Tutorial: Interior Design Rendering