![]() ![]() ![]() We received 3D scans from a photogrammetry rig of the characters from Clear Angle Studios, which would also include references for texture, polarised and unpolarized lighting references. A lot of attention from Layout, Animation and Compositing went into choreographing the motion of the daisy-chain of cargo crates as well as the cargo crates inside the plane. We wanted to get that sense of high altitude and disorientation across. The focus was to have a great rhythm throughout the cut, but also making it look even more dangerous. We had some great pre-visualisation (Previs) from DNEG’s Previs team and postvis from RISE as a starting point and from there our Layout Supervisor Kristin Pratt and DFX Supervisor Gregor Lakner and their teams blocked the entire sequence out, inside and outside of the plane. What was your approach about the impressive opening sequence that is an homage to the third video game? It’s important to look at real photography like the island scenery in Thailand, paintings of Spanish Galleons, images of C17 air-planes or crazy parachute stunts and things like that and get ideas from those kinds of material. ![]() I would rather study the photography that was shot, and get ideas from the art department’s work. This might sound controversial to anyone who is a fan of the game, but to be honest, I didn’t want to get inspired too much by the game visuals anyway. I did my research at the beginning of the show just to get a gauge on the overall look of the original game and to understand the different sets and levels within the game. I used to be an avid gamer but the Uncharted series actually wasn’t something I played before. His filmography includes various shows such as John Carter, Interstellar, Blade Runner 2049 and Ghostbusters: Afterlife.ĭid you get the chance to play to the video games? Before joining the DNEG team in 2011 for Captain America: The First Avenger, Sebastian von Overheidt worked in many studios like Trixter and Pixomondo. ![]()
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