ADG Perspective

July-August 2021

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-UE works with a VR system; Maya doesn't. Detailed 3D geometry libraries are currently available online. They are either free (as in the case of the superb Megascans packages from Epic Games consisting of high-resolution photogrammetry 3D models and textures of natural and architectural elements that plug directly into Unreal Engine) or for a reasonable cost or subscription (Kitbash3D, TurboSquid, etc.). In addition, there is an ongoing yet slightly exaggerated conversation about an upcoming Metaverse complete with digital twins of large portions of the existing world. At this moment, Unreal Engine has a plugin (Cesium) that allows real-world location scouting in a Google Earth- like setup. On The Mandalorian, we also used an extensive high dynamic range sky library to generate the ambient lighting for the multitude of virtual locations loaded on the LED stage. The asset modeling crew within the Virtual Art Department could additionally Lidar scan and process custom photogrammetry data for both locations and props. Transferring data to Unreal from various software packages, preferably from Maya, requires a prep process that can be: -Simple (whole scene export for quick scouts and design reviews). -Complex (granular FBX exports—individually numbered and named geometry assets, preceded by UV, texturing and optimization for final scene assembly). I always try to keep in mind that the workflow will need multiple round trips between different software packages. Therefore, the export-import process should be well organized yet fast and flexible, with a reasonable tolerance for human error and redundancies. The workflow and technologies described above are just newer tools in the ever-evolving Art Department's panoply. If used appropriately and in conjunction with other solutions, they can offer actual cost and creative flexibility advantages. Ultimately, the internal visual logic of each production will dictate the appropriate workflow and interdepartmental interfaces. ADG THE LION KING. EACH "HOTSPOT" DESIGN CYCLE INCLUDED SEVERAL ROUND TRIPS BETWEEN 3D PACKAGES (MAYA AND UNITY) AND 2D PAINT OVER ILLUSTRATIONS. IN ADDITION, PRESENTATIONS AND SCOUTS WERE DONE ON A UNITY STATION INSIDE THE ART DEPARTMENT USING A VIVE VR SETUP. ONCE THE SETS WERE APPROVED, THEY WERE DELIVERED TO THE VIRTUAL STAGE VENDOR (MPC) AS A 3D/2D PACKAGE. THEY OPTIMIZED IT FOR REAL-TIME PRINCIPAL PHOTOGRAPHY. D. PRIDE LANDS AND PRIDE ROCK DESIGN CYCLES: MAYA BLOCKING USING REAL-WORLD COMPOUND TOPOGRAPHY, ZBRUSH SCULPTED HERO FEATURES, PAINT-OVERS FOR ADDITIONAL DETAIL AND LIGHTING, AND POSSIBLE SHOT CAMERAS. Disney D

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