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Fokus: Workstations Kino Satt! Frische Tools! 2O16 ISSN 1433-2620 > B 43362 >> 20. Jahrgang >>> www.digitalproduction.com Deutschland € 15,20 Published by Österreich € 17,– 5 Schweiz sfr 23,– O5:16 MAGAZIN FÜR DIGITALE MEDIENPRODUKTION AUGUST | SEPTEMBER 05:2016 Fokus: Workstations im Test | Cinema 4D R18 | Jungle Book | Blender Cloud | Clarisse 3 | Flame 2017 | Fusion 8 | Independence Day 2 | VR-Games | VR-Games 2 Day 8 | Independence | Fusion 2017 | Flame 3 | Clarisse Cloud | Blender Book | Jungle 4D R18 | Cinema Test im Workstations Fokus: Workstations Kino satt! Frische Tools! Profi-Maschinen im Test – welche Colonia Dignidad, Jungle Cinema 4D R18, Clarisse 3, wird Ihr nächster Arbeitsrechner? Book, Independence Day 2 Flame 2017, Fusion & mehr DP1605_001-001_U1_Titel.indd 1 04.07.2016 08:02:08 FOKUS FILM & VFX 3D & ANIMATION INTERACTIVE DIGITAL ART SCIENCE & EDUCATION SERVICE Bilder: © 2O16 Twentieth Century Fox Mehr ist mehr? 1996 war “Independence Day” der Kracher schlechthin im Kino. Solche Effekte, Zerstörungen und eine fette Schlacht mit Aliens hatte man zuvor noch nicht gesehen. Da Regisseur Roland Emmerich von Desctructions in epischem Ausmaß nie genug bekommt, kehrt „Independence Day“ zum 2O-jährigen Jubiläum mit Teil 2 ins Kino zurück. von Mirja Fürst n den letzten zwei Jahrzehnten haben Spaßfaktor nicht gelegen haben: Vom alten der „Tribute von Panem“-Reihe und als Bruder sich völlig neue VFX-Möglichkeiten erge- Cast sind im zweiten Teil unter anderem Jeff von Thor-Darsteller Chris Hemsworth bekannt Iben und die technischen Verbesserungen Goldblum und der im ersten Teil als US- wurde. Will Smith, der im ersten Teil Captain waren für Destruction-Enthusiast Emmerich Präsident agierende Bill Pullman dabei. Als Steven Hillers verkörpert, fehlt aus einem auch der Hauptgrund, eine Fortsetzung von Nachwuchsdarsteller in Hauptrollen wurden simplen Grund: Der inzwischen zur A-Liga der „Independence Day“ machen zu wollen. Das unter anderem Maika Monroe, die schon in Schauspieler zählende Smith ist schlichtweg Sequel „Independence Day 2: Wiederkehr“, „It Follows“ ihr schauspielerisches Können be- zu teuer geworden. Aber ein Bild vom ehe- das erste überhaupt in Emmerichs langer wies, sowie Liam Hemsworth besetzt, der mit maligen „Prince von Bel-Air“ an der Wand im Karriere als Filmemacher, startete am Weißen Haus war doch noch drin. 14. Juli in den deutschen Kinos. Auch in Sachen VFX-Vendors hat Em- Der zweite Teil wurde von Liebha- merich alles richtig gemacht und auf das bern des ersten „Independence Day“- Who‘s Who der digitalen Kunst gesetzt: Films heiß erwartet – so auch von der Unter anderem waren Digital Domain, DP-Redaktion, die den Film vorab sehen Scanline, Trixter, Weta, MPC, Image En- durfte: Und leider konnten wir uns nicht gine, Cinesite, Luxx Studios, BUF, Un- dem Eindruck verwehren, dass Roland charted Territory und Why Worry Pro- Emmerich ab einem bestimmten Punkt duction an dem Werk beteiligt. im Prozess das Projekt auf vielen Ebe- Gerüchten zufolge ist bereits Teil 3 von nen entglitten ist, hinsichtlich Storyline, „Independence Day“ geplant – hoffent- Charaktere und Unterhaltungsfaktor lich nimmt sich Roland Emmerich hier- (und diesen einen Punkt hätten wir bei für mehr Zeit bei der Ausarbeitung des einem Emmerich-Film auf jeden Fall er- Konzepts. Aber kommen wir zum Wich- wartet erfüllt zu sehen). Aber zum Glück tigsten, der imposanten VFX-Schlacht: sind Geschmäcker ja auch verschieden. Vor Kinostart durften wir exklusiv mit den Zumindest an der Darsteller-Beset- Regisseur Roland Emmerich mit Darsteller VFX-Supervisors von Scanline, Image En- zung des Films kann der mangelnde Bill Pullman am Set gine und Cinesite sprechen. 50 WWW.DIGITALPRODUCTION.COM DP1605_050-057_ID2CineImageScanline.indd 50 04.07.2016 09:31:46 AUSGABE O5:2O16 INDEPENDENCE DAY 2 | MAKING-OF die komplette Landesequenz beschäftigt, welche zahlreiche Hero Shots in verschie- denen Environments und spektakuläre Simu- lationen beinhaltete. Darüber hinaus waren Hauptszenen der Rettung in Washington, die große Strudel-Sequenz sowie eine Vielzahl von Umgebungsshots im Afrika-Environment aufwendig in der Bearbeitung. DP: An welche Studios habt ihr das Mo- thership gegeben und in welchem Format wurde das Asset weitergereicht? Mohsen Mousavi: Unter anderem an Weta, MPC, Digital Domain und Uncharted Terri- tory. Für den Austausch nutzen wir native Maya-Ascii-Dateien, die sich als am besten funktionierend bewährt haben, wenn ver- schiedene Studios mit unterschiedlich auf- gebauten Formaten arbeiten. DP: Wie sah die Tool-Pipeline aus? Mohsen Mousavi: Wir verwendeten Maya für alle Front-End-Prozesse wie Modeling, Surfacing, Rigging, Layout und Animation. Die Rigid Body Dynamics und Volumetric FX realisierten wir mit 3ds Max in Kombination mit Thinking Particles, worauf auch die Ren- dering Pipeline mit unserem Haupt-Renderer V-Ray aufsetzt. Wir haben uns eine robuste Inhouse Bridge zwischen Maya und 3ds Max Scanline: seren studiointernen Sequenzen arbeiteten gebaut, wodurch die Verbindung der beiden Mothership & Meer wir an verschiedenen Environments inklusi- Tools für die Produktion bereitsteht. Für die ve großen Abschnitten von Singapur Down- Wasser- und andere volumetrischen Simu- ohsen Mousavi arbeitet als VFX-Su- town, Gebieten der Londoner Innenstadt lationen kommt natürlich unsere preisge- pervisor bei Scanline in Vancouver sowie Washington DC – wobei es dabei vor krönte, selbstentwickelte Software Flowline Mund ist seit mehr als zehn Jahren allem das Weiße Haus und den umliegenden zum Einsatz, die eng mit V-Ray und Thin- in der Branche tätig. Zu seinem Projekt- Bereich betraf. Für ID2 durften wir ein breites king Particles sowie weiteren Aspekten der Portfolio zählen unter anderem „Game of Spektrum an Shots für viele verschiedene Pipeline verknüpft ist. Mari bildet das Herz Thrones“, „Hugo Cabret“, „Pompeii“ oder Szenen kreieren. Hauptsächlich hat uns die unserer Texturing-Pipeline und Nuke setzen „San Andreas“. Scanline lieferte insgesamt Ankunft des Motherships über der Erde sowie wir im Compositing ein. 260 Shots für „Independence Day 2: Wie- derkehr“ (ID2) in 9 Monaten Bearbeitungs- zeit. In Spitzenzeiten waren bis zu 180 Ar- tists mit dem Projekt beschäftigt. DP: Wie kam Scanline zu ID2? Mohsen Mousavi: Wir haben schon für „2012“ mit Roland Emmerich und Volker En- gel (Anm. d. Red.: Gründer und VFX-Super- Weltuntergangs-Spezia- visor von Uncharted Territory) zusammen- listen: Destructions, Wasser- gearbeitet und für den Film einige Shots mit massen und Mothership für Wassersimulationen und FX-Desctructions ID2 von Scanline im Riesenmaßstab geliefert. ID2 ist episch in jedem Aspekt und von daher war Scan- line als Studio die erste Wahl für die Umset- zung der Zerstörungsszenen und der großen Wasser-Sequenzen. DP: Welche Szenen beziehungsweise Assets habt ihr bearbeitet? Mohsen Mousavi: Wir waren verantwortlich für das Design des Motherships und des City Destroyers; diese beiden Assets haben wir auch an andere Vendors ausgeliefert. Bei un- 51 DP1605_050-057_ID2CineImageScanline.indd 51 04.07.2016 09:31:49 FOKUS FILM & VFX 3D & ANIMATION INTERACTIVE DIGITAL ART SCIENCE & EDUCATION SERVICE DP: Warum V-Ray für das Rendering? Shots und riesigen Elementen umgehen, die Image Engine: Mohsen Mousavi: Uns verbindet eine lange man in dieser Größe noch nie zuvor in ir- Tentakel & Tiefe Historie mit V-Ray und Chaos Group: Wir wa- gendeinem Film gesehen hat. Den jeweiligen ren eines der ersten Studios, das den vollen Maßstab sinnvoll darzustellen und gleichzei- upervisor Martyn „Moose“ Culpitt von Vorteil von V-Rays robusten SDK nutzen tig alles in eine gelungene Shot-Komposition Image Engine war schon 2001 als Artist durfte, sodass wir zahlreiche Custom Shaders zu bringen, war bei dem Auftrag eine große Sbei „Herr der Ringe: Die Gefährten“ tä- und Features schreiben konnten, mit denen kreative Herausforderung. Wir starteten in tig, seitdem arbeitete er als VFX-Supervisor sich massive Datensätze rendern lassen. den Prozess mit zahlreichen Konzept-Varian- unter anderem an Feature Filmen wie „White ten, um mit Roland schnell kommunizieren House Down“ oder „Jurassic World“ (s.a. DP DP: Wurde für ID2 etwas neu entwickelt? und seine Vision des Maßstabs und Chaos‘ 01:16). Image Engine kreierte verantwort- Mohsen Mousavi: Scanline pusht seine Tech- verstehen zu können. Nachdem wir unge- lich alle Aliens für ID2 – ausgenommen die nologie kontinuierlich. Mit jeder neuen Show fähr eine Vorstellung hatten, gingen wir in Alien Queen, die von Weta Digital gebaut fragen wir uns, wo etwas im Prozess fehlt, die Test- und Researchphase für die Simula- wurde. Darüber hinaus erstellte das Team damit wir die Bedürfnisse der extrem kom- tionen, um herauszufinden, wie wir am be- aus Vancouver drei riesige Environments. plexen Shots, an denen wir immer arbeiten, sten an die Shots herangehen. Durch diverse Insgesamt fielen für vier Hauptszenen rund bestmöglich erfüllen können. Für ID2 im Spe- Iterationen näherten wir uns dann Rolands 170 Shots an, 96 davon Creature-Shots. Bei ziellen nahmen wir ein Major-Update an den Vorstellung an. Image Engine waren insgesamt 120 Artists Flowline Volumetrics vor, um große Smoke ein Jahr lang mit dem Projekt beschäftigt: und Fire Simulations auf eine neue Ebene DP: Ihr seid ja Projekte mit großen Zer- von der Preproduktion über Set-Betreuung zu hieven und so die Komplexität und den störungen und Wassermassen in der bis zur finalen Auslieferung. enormen Maßstab der ID2-Shots zu leisten. Pipeline gewohnt. Hat ID2 dennoch alles zuvor Dagewesene getoppt? DP: Wie ist Image Engine zu
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