'Crazy VFX Behind \"Prince of Persia\" VFX Breakdown'

$'Crazy VFX Behind \"Prince of Persia\" VFX Breakdown'$

07:00 Oct 17, 2022 -1 0

'Even though Prince of Persia: The Sands of Time did very well at the box office, it received pretty poor reviews from the general public. But although the script may have been thin and predictable, the VFX were good enough on their own to make you watch the film to the end. DNeg, Framestore, MPC, and Cinesite all provided VFX for this film and although each company was tasked with their own specific shots, there was a certain amount of overlap. Like the music in this video? Get it on Google Play:► https://bit.ly/2F10vbs ◄ Get it on itunes: ► https://apple.co/2ENGfu9 ◄ Listen on Spotify: ► https://spoti.fi/3boTfCl ◄ Buy it on Amazon: ► https://amzn.to/2QVJZfk ◄ DNeg: The Dagger of Time. To create the Dagger\'s \"Rewind\" effect, DNeg elaborated on the \"event capture\" process they had developed for the \"Freefall\" sequence in The Quantum of Solace. Because the \"rewind\" effect had to fit seamlessly into the normal forward action of the scene, they decided to film it directly after so that the actors still had their positions and moves fresh in their minds. DNeg: The Sand Glass of the Gods. For the sandglass scene, DNeg had to create a digital environment that looked 100% real and a light-emitting central crystal tower filled with swirling sand that would portray images from the past. DNeg had to do a lot of research for the 300ft sand-filled crystal because a 300ft sand-filled crystal doesn\'t really exist, so what does it look like? Framestore: Snakes Framestore had to do a vast amount of research before deciding on the type of snake they were going to create, and yes all the vipers in the film are CG. They made the scales hard and defined, this was to give the snake a more armored and aggressive feel. The scales that were closest to the head were actually hand-modeled in Zbrush or Mudbox whilst the scales further down were created using a custom Maya Plugin that was similar to Framestore\'s feather system. Framestore: The Sand Room. The \"Sandroom\" shot was almost entirely Framestore\'s invention and mostly CG. They did do a practical shoot of the hero sliding down a piece of MDF board and performing some moves in front of a green screen and also of big buckets of sand being thrown through archways, over objects, and down slopes but these shot were mostly used as reference material for their CG render tools. Animator\'s blocked out the sequences using geometric surfaces to represent the sand, this way they could get the go-ahead before involving an FX artist. Once the layout of the shot was finished they used a custom Maya plugin that could take their animated geometric surfaces and produce a flow of particles to replace them in the final render. Cinesite: City Extensions. Cinesite had to create establishing shots and extensions for the cities of Nasaf and Azrat. For reference material they used topographical Lidar scans of the environments in Morocco, photographic research on Arabic art, tiles, and architecture, and they even visited an Ancient Persia exhibition at the Tate Gallery. For lighting reference, they took HDR photography on set in Morocco. The Avrat chase scene was initially filmed in Morocco and then recreated at Pinewood with blue screen backgrounds which were later replaced with the skydomes they took in Morocco and digital matte paintings. Cinesite: CG weapons and De-aging. The Hassasssins scene was Co-choreographed by Cinesite, the stunt actors on set only had the handles of their weapons in their hands, the VFX team then had to match their CG whips, claws, or blades to the action, adding dust hits, splashes and sparks to help sell the shot, and the mysterious cloud and sand trails that surrounded the Hassassins were done in Houdini. For the flashback shots with Nizam, Cinesite had to de-age Ben Kingsley and they did this in a rather clever way. They cast two youth doubles who stood in straight after the take with the original actors so the lighting conditions were exactly the same. MPC: Building a City. MPC was given the mammoth task of building a complete city from scratch. For size reference, they used Lidar scans from the sets at Pinewood and in Morrocco, and for artistic reference, they used the production designers layout design, references their digital photographer took of textures, objects, statues, and buildings during a 3 week trip to Rajasthan in India, digital photography from Morocco, and reference material from a book called \"the Orientalists\". With this basis, artists began to build a library of over 30 different houses, a large selection of market stalls and props, different cloth roofs and fabrics, trees and gardens, squares, and streets. Please give us a like if you enjoyed this video, don\'t forget the links to the music in this video are in the video description and be sure to let us know, in the comments, which movie VFX you\'d like to see behind next! Read more here: www.famefocus.com Follow us on Twitter: https://twitter.com/focusfame'

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