Issue link: https://digital.copcomm.com/i/1521244
Me and most of my team had just finished a very by-the-book show called The Mysterious Benedict Society. Fun, quirky sets embellished with tons of visual effects by way of set extensions and the like. Standard. They are young people with computer and design skills. We got this. The way to shoot this show "all over the world" was to shoot most of it in front of the world's largest Volume screen. A large image placed on a giant-curved LED screen with a practical set that seamlessly interfaces with the background image. Day One was scheduled to be an iceberg in what we would consider a polar region. That first day of shooting was seven months away. We were told that the images for The Volume wall required a minimum of six months to create and render. Each one. Each environment took a minimum of six months. There were sometimes eleven per episode!! We were already behind and none of us knew what to expect. We started by pulling images. These images became crude drawings. These crude drawings became illustrations. The illustrations were approved and then packaged with the corresponding reference images sent to vendors all over the world. These vendors then created the environment using Unreal Engine and similar gaming programs. Once things were sent to vendors, we had to track the progress, give more reference and interface with the Art Department. What we did was create two departments. A Virtual A. SAKKA AND KATARA ON APPA FROM THE ANIMATED SERIES. B. APPA RIG MOUNTED ON HYDRAULIC STUNT PLATFORM ON GREEN SCREEN STAGE. C. AANG, SAKKA, AND KATARA ON APPA. FINAL FRAME. D. SOUTHERN WATER TRIBE. WOLF COVE ON VOLUME. SET PHOTO. E. WOLF COVE WITH FULL SNOW DRESSING. VOLUME SET.SET PHOTO. D B C E A