Sony finally released the MotorStorm2 trailer I’ve been working on, and also ended up using the sequence as intro.
I’ve done all the Matte Paintings (Digital Matte Art, since there were no locked-off shots and everything needed to be projected) on the entire thing.
Don’t know what happened in the end but all the 3D vehicles and such look desaturated. At least on my screen.
Maybe it’s due to the encoding/compression Sony did after delivery. I heard it’s being aired on TV in the US though. Hope it looks better there.
Great work. I like the way you used shots from the island of Kauai. That place has been the location for a lot of movies. The opening shots remind me of the helicopter ride I took there.
I hope all you guys can go there someday and see what I mean. Once again, great work.
First of all I would like to apologize for the lack of information I provided at first. Honestly I wasn’t sure if there would be enough interest.
The footage was originally shot in 1080HD on Hawaii. I worked at twice that resolution. All shots were filmed from a helicopter and therefore the camera is constantly on the move. Sometimes the helicopter flew in one direction while the camera operator was panning in another. All of my work included a lot of projection with multiple cameras and relied heavily on good camera tracks. The life-action environment is astonishing and not all shots actually have big matte work in them. For some shots a combination of different colour corrections, controlled by rotoshapes and pulled keys, was enough to achieve what was needed. In the matte shots about 30-50% is real.
As for breakdowns I am afraid I don’t know if I can post them here at all just yet. I really don’t want Sony to be knocking on my door. But since the final has been released in 720HD I should be able to provide some 1280x720 images. For my next reel I was hoping to be able to show some of that stuff. So, please feel free to stay tuned and keep checking my website in the near future. Technique-wise I can explain as much as you wish. People on my team were doing loads of camera solves and then creating geometry from the point clouds, which I then imported into Maya and modified accordingly. For example in the long shot where the beach gets revealed the mountain on the right is all that is left from the original. The most painful shot on the entire project was the one with the volcano because all of the foreground, including that big smoke cloud, is real and with all the natural smoke rising we couldn’t track the helicopter camera move appropriately.
I don’t have a bulletproof approach because it always depends on the shot itself. Sometimes I need to start with a painting of the last frame, and sometimes I need to create two, one at both extremes. There are always a lot of changes down the line as well.
But if you have more specific questions, please do not hesitate to ask. And I will try to upload more visual information asap, either here or on my site or blog.
Thank you again.
Jaime, have you done any Matte Paintings for the Fable2 cinematics? Are you allowed to show any of those, if so?
Some realy nice work there, a good mix of techniques!
I actually have to produce a shot very similar to one in there for a project i am working on at uni at the moment.
Thanks for sharing, look forward to seeing some breakdowns sometime.
Because I’ve been getting a lot of questions about my workflow in the past 6 months…
My usual weapons of choice are Photoshop, Maya, Shake. At work most often I’d be provided with shot footage and don’t need to start complete paintings from scratch. There is usually a tight brief and after the client sent over the shot footage I start mocking up some sketches and concept art. Ideally they already have storyboards or some kinda thumbnails to have an orientation and get an idea.
While waiting for approval or feedback I gotta already prepare other shot concepts and also dig through my photo library for relevant pictures.
Once all changes are made and I get an ok I got about a day to model the necessary environment in 3D. As soon as that’s done, I start the first projection tests.
Although I would have carefully planned out details about that at an early stage. Mostly even before starting the concept.
Of course there will be endless changes between this point and the final stage. That’s the agonizing fun part of the job. Endless back and forth with the compositors and 3D guys and even some late nighters.
I’ll post some more later on if you guys are still interested.
Ooo I have been waiting for such a post here too long. It’s amazing work. When I first saw it I thought: “Smells like a lot of Vue”. But hey, I don’t have experience with Maya for 3d or Shake. Inspirational indeed. Thanks for sharing it