![ghost recon future soldier guns ghost recon future soldier guns](https://live.staticflickr.com/8013/7568387456_0a8cc80a4a_b.jpg)
It works great, and anybody looking to get into the field should become comfortable with the ins and outs of that process.Īlso, working with 3D passes is excellent knowledge to have. A lot of the smoke, little fires and steam elements were all tracked in via a 3D camera on a card in Nuke. Lane: From a compositing standpoint, Nuke’s 3D aspects were used for quite a few things in this commercial.
#GHOST RECON FUTURE SOLDIER GUNS SOFTWARE#
Q. What software packages were used? Are there any specific software you’d advise aspiring VFX workers to concentrate on?ĭavid: The whole spot was done in Maya, rendered in Mental Ray, and composited in Nuke, with a little After Effects for the end tag. Most the of the time was spent designing and laying out the environments, as well as fine-tuning the lighting and effects to really polish the look. The visual style, the concept, and the technical approach was really straightforward so we just went for it. We were provided with the assets from the game, to which we added some more detail.
![ghost recon future soldier guns ghost recon future soldier guns](https://torrentigruha.ru/uploads/posts/2016-10/1477054439_ghost-recon-future-soldier-5.jpg)
Q. Were there any key moments when carrying out your research?ĭavid: There wasn’t a lot of research involved. It was really fun for us to have so much trust and such a clear vision from our clients. We had existing assets to work from, as well as am established visual framework from their previous campaigns, which enabled us to concentrate on the details the textures, the environment design, character animation, the cameras and the edit. Q. Were you given much freedom by Ubisoft, or was it a case of sticking to a very specific brief?ĭavid: We were given an unusual amount of freedom with this spot.
![ghost recon future soldier guns ghost recon future soldier guns](https://gamesrewired.files.wordpress.com/2013/10/teamwork.jpg)
It being so brief and fast, we decided to just make it action-packed as there just not enough time for subtlety.
![ghost recon future soldier guns ghost recon future soldier guns](https://staticctf.akamaized.net/J3yJr34U2pZ2Ieem48Dwy9uqj5PNUQTn/5dF4lAGnriLNMI6eoKQ0it/240b21bb2a0b3cad644c0ec2e87ca51a/-GRFS-_Thumbnail_-_6.jpg)
We wanted the characters to fall into shadow firstly, to convey the sense of camoflauge and the way they blend into their environment, but secondly to make the climax point of the action in frame much more dynamic when the lights and machine guns go off. We wanted to show in such a short amount of time that they were soldiers with super cool tech gear. We also used a lot of rim lighting to accentuate the surface and contours of the characters. Through the lighting, we were able to get the characters to stand apart from the darker tones and pull the eye around the frame to see the various shapes of the figures and details of what each shot is conveying. Lane: Being that it’s a short and very fast-paced commercial, we needed something to grab the viewer’s attention right from the start. One of the appeals of the film is its dark, stylistic approach. This interview is for anyone who’s interested in animation, used to read Tom Clancy and everyone else in-between. However it all seems to be in a day’s work for those at Psyop (the same guys behind the Twining’s Tea Advert).Ĭreating an animation as visually stunning as the one for Tom Clancy’s Ghost Recon Future Soldier provokes its own questions (HOW did they do that? Should I just give up now?) Fear not, because Skwigly recently had the opportunity to take a fascinating insight into their methods, and how they managed to portray such a strong message in such little time. For those working in the animation industry, working for a client such as Ubisoft must be a daunting experience.