We had the chance to work at two legendary visual effects supervisors. I want to kind of take you through our thought process and also through a few different files and show you how we made certain bits and pieces. Today, I'm going to break down different concepts and deliverables from this film and give you a basic idea of the type of work that we did. We had to create an asset list of over 200 deliverables to populate the city, shop fronts, and different story telling moments. It allowed us to hone our visual effects pipeline. We had the opportunity to work with Rupert Sanders and helping create his vision of Ghost in the Shell. This film was really exciting to work on. Today, I'm really excited to talk to you about our work on Ghost in the Shell and how we created this massive world with a large, deliverable list of assets. We're a multidisciplinary studio, meaning we do work in lots of different disciplines including visual effects, motion graphics, commercials, games, branding, and virtual reality. I'm an American that moved over to London three years ago, and I work in motion graphics and film at territory. I'm sorry if you're hoping for a soothing British voice this morning. My name is Nick Lyons, and I'm a motion designer at Territory Studio in London.
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