Suits, on the other hand, provided a different challenge as it was a completely new style for Blur.
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These quick and detailed progressive renders also afforded the lighting team an opportunity to anticipate and respond to character lighting challenges well before they were under the pressure of looming deadlines, ensuring that much of the show was 'lit' and rendered before the full lighting/compositing teams went to work. Progressive rendering and careful collaboration between the lighting and animation departments proved important, as it allowed the team to visualize performances long before wholesale rendering began, with a level of fidelity that went far beyond the traditional playblast. “During the animation phase, V-Ray's progressive renderer provided rapid feedback that our animators then used to see how the animation would work within the scene’s anticipated lighting. “V-Ray helped us add depth and atmosphere into sequences at speeds we'd only dreamt of before not to mention, gave us full control over all the unique lighting in our scenes,” said Chris Bedrosian, CG Supervisor on Sonnie’s Edge. To achieve this, the artists applied V-Ray to nearly every part of the creative process, from look dev and compositing to the final animated frames. Here, cinematic digital humans would mix with their surroundings in a highly stylized, photorealistic way. Our heroine is a fighter in the “beastie” world, where people telepathically tap into the body of a vicious creature to do battle with another.ĭirector Dave Wilson wanted to create a rich, neon-colored culture that would balance the tone of the short and the rundown structures it takes place in. A cyberpunk’s delight, Sonnie’s Edge represents a bleak, futuristic version of London teeming with violence and grime. “We’ve always thought that animation audiences deserved more mature storylines, and now we’re finally at a place where we have the freedom and technology to give them what they want.”īlur’s first short is the first point of contact viewers have with Love, Death & Robots. “V-Ray is so versatile and dependable that we couldn’t imagine not using it on these shorts, which is pretty amazing when you see how different they all look,” said Denjean. Behind every experiment was V-Ray, the Academy Award-winning renderer that’s been guiding Blur’s pipeline since 2009. Seeing this as a chance to flex their creative muscles, Blur built on the hyper-realistic game cinematic style they are known for, and expanded into a more hand-painted, 2D-esque version of 3D.
It was here where all the creative freedom really paid off.”īlur not only led the project, they contributed three shorts of their own.
It was thrilling to bring everyone together and let them apply their unique visions to these shorts. “We’ve been competing against some of these companies for years and admire them greatly. “When we put out the call to the other studios, people went wild,” said Jerome ‘Jed’ Denjean, Head of CG at Blur and VFX Supervisor for Love, Death & Robots.
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