Issue link: https://digital.copcomm.com/i/1495092
which lent a cyclic feeling to the development process, as the Art Department was interfacing regularly with the previs team on the ground floor to update content for the live-action integration. Having recently visited a recreated prehistoric village in Germany on Lake Constance, otherwise known as Bodensee, I had quite a lot of photographic references, which interfaced well with the technology preferred by the various clans of mice and their level of available production methods. Preliminary design exploration engaged the acquired 3D turtle asset as a foundation for architectural exploration, which was quite entertaining, unexpectedly refreshing and atypical from the normal request for spaceships, laboratories or recently destroyed office buildings. Having generated a hybrid workflow with the recently adapted Unreal Engine, the production was able to generate a large volume of work from many artists with a somewhat consistent visual style, which was ultimately very effective from a previsualisation standpoint. The test footage from Unreal Engine looked fantastic and was to serve as a guide for Weta workshop, who I believe was charged with the ultimate visual execution. Sadly, after Disney acquired Fox, work at Fox VFX Lab was suspended indefinitely. However, the legacy of innovative teams and operations such as techno-props continue to live on, having spawned the regularly touted term, "virtual production." And a litany of new and much lauded projects helmed by early adopters like Jon Favreau, in his television series, The Mandalorian. C. MOUSE GUARD TURTLE STRUCTURE. D. TURTLE HOUSE INTERIOR. E. TURTLE HOUSE INTERIOR. ILLUSTRATIONS BY MATTHEW CUNNINGHAM E D C