CRAFT
and have been working super closely with the cast, costumiers, puppeteers, production designers and the talented Painting Practice team,” says Dodgson. This meant that
Framestore was there to advise and support on VFX matters when the ideas were still being mapped out, which is as important for creative decision-making as it is for budgeting. It also meant Framestore had strong working relationships with the people they worked hand-in-glove with, whether that meant access to props and swatches of material to working with the cast to tease out their back stories and their relationships with their CG daemons. “I think everyone’s benefited from this relationship, be it myself, our animators, our texture artists or the production team who keep everything on course,” says Dodgson. For the show, he says this makes for
balance and believability, and also a sort of ‘between the cracks’ richness that really helps bring things to life. Framestore had around 500 people
working on the show across its London, Montreal and New York offices, including animators, VFX artists, production staff and the systems and support teams who helped keep things running throughout pandemic. By the time the Framestore team were
working from home, all of the artists were either on Teradici zero clients or using HP’s RGS. Maya was used for layout and animation, along with Houdini.
EVERYONE’S BENEFITED FROM THIS RELATIONSHIP, BE IT MYSELF, OUR ANIMATORS, OUR TEXTURE ARTISTS OR THE PRODUCTION TEAM WHO KEEP EVERYTHING ON COURSE
All compositing was done in Nuke. Framestore also used its own proprietary software which its tech teams have created in-house: custom path tracer ‘Freak’ for rendering, and groom
dynamics solver ‘Fibre’ which is used to simulate hair, fur, feathers and foliage. VFX art director Daniel May and his team
at Painting Practice used Unreal Engine for their virtual production methodology. Asked about the sequences he is most
proud of, Dodgson says it’s hard to be objective after working on a show so long. “I’m really pleased with the scope and scale of Cittàgazze - that felt like a real feat, and the end result is stunning. At the same time, you also find yourself chuffed with quieter or more granular moments - certain effects when the Spectres attack a character and their daemon, for example, or the interactions between Lyra and Mrs Coulter’s daemons.”
With a heritage of over 50 years within the VFX industry, MPC Episodic offers dedicated VFX services for the world of television and streaming. From the latest Virtual Production techniques to the most photo-real CG character development; and from the “invisible” effects and to the most epic scene or finale effects, we offer an unrivalled level of agility and scalability for every requirement.
In production: House of the Dragon Wheel of Time Lost in Space SAS: Rogue Heroes The Swarm
Featured projects: The Third Day Pennyworth Lisey’s Story Lupin
www.mpcepisodic.com
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