This was created with the requirement that the director be able to use it at will. Closeups. Set replacements, destruction, the works.
You don’t have a shot breakdown or camera list.
You’ve got 6 months of pre production to support 1000 shots. Once in production you will be the only texture artist supporting 30 TDS.
How do you spend your 6 months to make sure production runs smoothly?
I’m kinda interested in your experience of this stuff as the numbers you’re quoting for 2k work are, in my experience, waaaaaay off and are closer to how a high end games asset would currently be textured.
I don’t disagree with you that the numbers involved are crazy when taken in isolation but it is (or at least was 5 years ago) a very common workflow at ILM, Weta, Dneg, DD, R&H Framestore etc etc. The quoted high numbers are the very upper end but many thousands of assets on hundreds of productions have been textured at what I believe you would consider “insane” detail levels.
https://youtu.be/PBhCE97ZN98
This was created with the requirement that the director be able to use it at will. Closeups. Set replacements, destruction, the works.
You don’t have a shot breakdown or camera list.
You’ve got 6 months of pre production to support 1000 shots. Once in production you will be the only texture artist supporting 30 TDS.
How do you spend your 6 months to make sure production runs smoothly?
I’m kinda interested in your experience of this stuff as the numbers you’re quoting for 2k work are, in my experience, waaaaaay off and are closer to how a high end games asset would currently be textured.
I don’t disagree with you that the numbers involved are crazy when taken in isolation but it is (or at least was 5 years ago) a very common workflow at ILM, Weta, Dneg, DD, R&H Framestore etc etc. The quoted high numbers are the very upper end but many thousands of assets on hundreds of productions have been textured at what I believe you would consider “insane” detail levels.