Game of Thrones HBO Interviews News Scanline VFX VFX Supervisor

GAME OF THRONES – Season 8: Mohsen Mousavi – VFX Supervisor – Scanline VFX

GAME OF THRONES - Season 8: Mohsen Mousavi - VFX Supervisor - Scanline VFX

Prior to now yr, Mohsen Mousavi defined the work of Scanline VFX on THE MEG. He’s again immediately to inform us about his work on the ultimate season of GAME OF THRONES.

How did you and Scanline VFX obtained concerned on this present?
Scanline has a fame for delivering very complicated environments mixed with complicated simulation situations. We have been concerned within the finale of season four and since then have been in search of a chance to be related to the challenge on a higher scale. So the ultimate three episodes of the ultimate season appeared to be an ideal match for the corporate.

I’ve been concerned in some very surroundings/impact heavy tasks comparable to SAN ANDREAS, INDEPENDENCE DAY: RESURGENCE simply to call a couple of. Helming the battle of King’s Touchdown and the ultimate episode appeared like a pure development of my earlier work.

What was your feeling to be a part of this iconic TV collection?
GAME OF THRONES has raised the bar in TV on each degree. From storytelling, to craftsmanship, it has managed to determine a tremendous, plausible and completely entertaining universe with visuals so memorable that many will keep in mind for years to return! With the ability to be a part of such monumental undertaking has been “dream got here true”! We had plenty of passionate artists placing their greatest at work with a tremendous motivation and power!

How was the collaboration with VFX Supervisors Joe Bauer, Stefen Fangmeier and VFX Producer Steve Kullback?
Steve Kullback was the General VFX Producer and did a tremendous work organizing the logistics and the extraordinarily demanding schedule. It takes loads of effort and expertise to aircraft and schedule such complicated venture forward. He was absolutely conscious of your complete course of and had an incredible overview of all belongings/duties dependencies throughout the board and made positive we have been coated on each degree to succeed!

Joe Bauer oversaw our work on episode 5 and 6 and Stefan Fangmeier was answerable for episode four.
They’re each veterans of GAME OF THRONES and each have an extended historical past within the business. Regardless of the distinction of their fashion, they have been absolutely on the identical web page specifically when it got here belongings and improvement that have been shared throughout all of the episodes. They did a tremendous work getting ready the shoot with VFX and submit in thoughts. They knew King’s Touchdown as in the event that they have been grown up in it’s road! Then knew the dragon out and in and have been very affected person on ensuring we now have all the knowledge and materials wanted to complete the work

What was their approaches and expectations concerning the VFX?
Last three episodes of ultimate season of GAME OF THRONES. Each sequence, each shot needed to be good. We stored telling one another that “the world is actually ready for this”. All of us felt the additional weight which was very uncommon in comparison with anything I’ve been concerned with. HBO needed the most effective they usually selected us to deal with it down! We took that problem very critically. Profitable VFX all begins from the planning the shoot lengthy earlier than we begin the postproduction and I need to say that Steve, Joe and Stefen did their half to perfection. Each shot was deliberate with complexity of the VFX and submit in thoughts. They did the fitting strategy of relying as a lot as potential on sensible results and surroundings.s They photographs an incredible variety of particular impact parts per shot which gave us a tremendous basis to construct on prime. If you work on a plate that already seems nice in each facet, you’re pushed to deliver the VFX to the identical degree.

How did you arrange the work together with your VFX Producer?
Marcus Goodwin was the VFX Producer on the Scanline behalf. He’s a machine with an awesome information and expertise on approaching giant portions of photographs, belongings beneath excessive manufacturing schedule. He labored immediately with Steve each day with fixed forwards and backwards on many various ranges and did his greatest to handle expectations each with the shopper and internally. He took care of all of the schedules and logistical planning and spear headed the manufacturing crew at Scanline together with all manufacturing and division managers so I might absolutely concentrate on the artistic and technical facet. He was all the time current in most of our inner evaluations and with an eye fixed hen view of your complete course of made positive that we ship the perfect on time! VFX Producer is likely one of the essential pillar of any profitable undertaking and Marcus delivered above and past!

What’s the VFX photographs rely?
In complete we delivered 610 photographs scattered over the ultimate three episodes.

How did you cut up the work amongst the Scanline VFX workplaces?
Vancouver was the lead facility and we obtained further assist from our workplaces in Germany/Munich, LA and Montreal. All Scanline amenities work in the identical pipeline and community no matter their time zone and all related to our state-of-the-art server construction! It’s a tremendous infrastructure which permits us to simply distribute the work with out coping with any further logistics.

Munich labored on about 150 photographs from the “Mountain and Hound struggle” aka “Clegane bowl” sequence in ep05 and helped us with backend work together with FX and compositing. Our workplaces in LA and Montreal are in the identical time zone and work with the remainder of the group in Vancouver seamlessly in several self-discipline the place wanted because of the unified community and infrastructure.

What are the sequences made by Scanline VFX on this remaining season?
In ep04 we have been chargeable for the negotiation sequence in entrance of the King’s Touchdown together with the Messenia’s demise.

In ep05 we did just about 90% with a big number of sub sequences together with:
Assault on the scorpions,
Destruction of the gate
Destruction of the town
Destruction of pink maintain,
“Mountain and hound battle” in addition to “Jamie and Euron battle”

In ep06 we have been answerable for :
Your complete Danny’s speech sequence with full CG 360 setting of the broken KL and pink hold.
Sequence of John strolling in the direction of the throne room and his confrontation with the dragon.
Throne soften sequence contained in the throne room and the ultimate sequence of the dragon carrying Danny out of the throne room and to the unknown!

Are you able to clarify intimately concerning the creation of King’s Touchdown and the Pink Maintain?
Traditionally, by way of the years King’s Touchdown was based mostly on Dubrovnik in Croatia. The complexity of ep05 and ep06 required Scanline to construct a full CG model of the historic metropolis. The battle of King’s Touchdown unfolds on quite a lot of places throughout the town. Scanline wanted to ensure that the surroundings is overlaying all of the angles and is absolutely constant from shot to shot which was important to the stream of the episodes. The digital metropolis wanted to be inbuilt a approach that would technically beneath go numerous totally different levels of destruction all through the two episodes.

HBO’s Joe Bauer and Steve Kullback scanned a lot of the historic part of Dubrovnik utilizing photogrammetry methods. In fact, you’re restricted on how far you possibly can go together with capturing element at this scale, nevertheless it definitely gave us a head begin to base our digital surroundings on. We needed to be as environment friendly as potential with our methodology. Our CG supervisor, Ryo Sakaguchi developed a semi-automatic strategy of changing all of the excessive res photogrammetry belongings into managed, optimized and suitable with our modeling and texturing pipeline. Nevertheless, photogrammetry belongings solely coated part of King’s Touchdown surroundings. At its core, King’s Touchdown was based mostly on modular constructing belongings just like Lego constructing blocks. We took the know-how we developed years in the past for the creation of the CG broken San Francisco in SAN ANDREAS and pushed it to the subsequent degree for the season eight.

We have been capable of construct many intact and broken belongings quick and environment friendly which on one hand have been in sync with the Dubrovnik type of structure, however on the similar time have been engineered rigorously to work in our simulation pipeline. We have been capable of generate a number of variation of broken constructing from the identical intact belongings utilizing the identical module base workflow. Each injury constructing used a set of situations of predefined small modules from the database which meant we have been capable of load each module solely as soon as at render time despite the fact that it was used 100 of hundreds occasions throughout the town.

For the intact metropolis a part of the town we used Clarisse to format the excessive detailed photogrammetry and mixed that with our in-house format manifest system. For the broken half, we relied closely on our personal implementation of metropolis engine which ties tightly into our modular system talked about above.

How did you create the varied shaders and textures for this setting?
We took the identical strategy on the feel and shaders and got here up with a procedural pipeline/workflow which allowed us to texture 100s of distinctive intact and broken constructing in a fraction of time. All of the constructing blocks and modules had constant UVs and numerous totally different predefined metadata construction which made it attainable to modularize our textures as properly. We had a mixture of various façade textures modules that might be mixed on a number of layers utilizing procedural masks and get the specified aged look on the constructing. The identical methodology was used on damaged buildings with layers of burnt façade combined in.

How did you deal with the lighting challenges?
For plate-based photographs, manufacturing offered parts of gray ball, HDRI which turned the inspiration of our shot lighting. You all the time need to have a constant lighting mannequin within the cg renders in the identical sequence have been attainable.

Episode 6 was primarily shot in an indoor stage with managed lighting setups. Nevertheless, you continue to have slight variations within the plates because of the nature of various lenses and totally different cameras with slight variations of their shade temperature. Our lighting mannequin and textures are based mostly on a neutralized setup. All of the offered materials comparable to reference grey ball and all HDRIs are neutralized persistently with a view to use a unified lighting/rendering and compositing workflow. We neutralize all of the plates based mostly on the offered shade charts and document the grading offset in our database per plate, per shot. At this stage we’re in a position to make use of the identical lighting and compositing template as a place to begin within the sequence throughout all of the photographs. This manner we have now constant plate and constant digital extension. This course of is absolutely none damaging and we’re capable of revert the whole impartial grade utilizing the pre recorded offset at any level on the complete comp together with all of the CG additions which brings us again to the unique plate for delivering it again to the shopper.

How did you strategy the melting of the throne?
Throne soften was one thing we began early on already in march 2018. It was such an iconic second and all of us have been very excited to place our greatest in play! The throne soften simulation was developed based mostly on a mix of Houdini granular solver in addition to our in-house flowline framework. Our FX lead, Marcel Kern, used some very intelligent strategies in laying out the impact based mostly on some predefined curves that guided streams of viscous soften. This allowed us to cater the edit and the timing in a totally managed trend and nonetheless be capable of drive our simulation based mostly on bodily attributes of the fluid which gave us the perfect of each world!

Joe, needed us to ship probably the most complicated and reasonable melting simulation ever seen on the display. It wanted to be dramatic, spectacular and on the similar time resemble a sensible look you’d anticipate from such occasion. Decision and nice movement element have been the important thing to realize the look. We got here up with some very superior and intelligent shaders to get insane quantity of particulars on prime of the already excessive res simulations. We have been capable of present dozen of various look of the shader in a single go to slender down the ultimate look which was very useful contemplating the immense tight schedule we had! The glowing lava and the underlaying hearth simulation mimicking the sensible hearth aspect would seamlessly mild the encompassing surroundings which gave an additional degree of constancy and realism to the photographs.

Are you able to elaborate concerning the numerous destructions and particularly the Purple Hold?
We acquired the Purple Maintain belongings from the earlier seasons as a base and redesigned the complete courtyard and the primary plaza in entrance of the citadel. We would have liked to transform a lot of the belongings to make it technically sound for numerous destructions situations. We began very early on utilizing the blocking animation from Picture Engine which gave us a transparent indication of the timing and the format of when and the place the dragon hearth would hit. This was represented persistently with a cone throughout all our forwards and backwards with joe and Picture Engine. The tough half was to make the hearth extraordinarily forceful however staying away from the wrecking ball look. We represented the hearth as an excessive passive drive which immediately push every little thing out of the best way and vaporized them to fireside and ashes

One other instance was the destruction of the King’s Touchdown partitions and the scorpions. Joe needed it to appear to be bunch of sunshine card boards being strain washed with an insane supply of power. We despatched numerous totally different variations and the suggestions was all the time “it must be extra forceful”. We cranked up the impact of the hearth pressure to and excessive degree and made positive it was constant throughout the board.

For the scene when the dragon blows up the King’s Touchdown gate, the manufacturing constructed a 3rd scale miniature of the gate and blew it up however sadly it didn’t have a large enough fireball to inform the story. It was shot from 5 totally different angles, it appeared nice however they needed extra of a fiery occasion . In order that they gave Scanline the problem. It turned out as one of the crucial immensely complicated digital pyro-shots of the collection. Technically the decision and the small print of the simulation was simply ridiculous . We got here up with one simulation that could possibly be utilized in all of the angles persistently just like the unique concept of the third scale miniature.
Our simulation mimicked the unique miniature impact when it comes to timing and drive plus much more on prime which helped us combine again right here and there some facet of the sensible miniature.

Within the Clegane bowl sequence, we have been tasked to function a collapsing tower across the Hound and the Mountain over the course of 150 photographs with a closely artwork directed construct up in the direction of the ultimate bounce out of the window. The tough half was the continuity from shot to shot in addition to ensuring we sandwich the characters contained in the falling mud and particles with out masking them an excessive amount of.

Did you develop particular instruments and procedural course of for the destructions?
We’re continually enhancing our core toolsets and methodologies. GAME OF THRONES was all about effectivity with out chopping corners on the standard. One instance was some very advance additions to our state-of-the-art fluid framework “flowline” which pushed our pyro explosion workflow to the subsequent degree and allowed us to simulate insane choreographed fiery explosions with an unlimited degree of element to be visually in sync with all the sensible actual factor that have been shot on the set.

What was the primary challenges with these destructions?
Joe was very methodical when it got here to simulation format and needed to ensure every little thing is bodily right and isn’t cheated for a selected angle. So it was very typical to ship quite a lot of witness cameras for all our simulations. These witness cameras have been designed very rigorously to additionally function the drama of the impact nearly as good because the grasp digital camera. The fascinating half was that a few of the witness cameras have been so profitable that they turned precise new photographs and made it into the ultimate minimize!
We needed to modify so much in our pipeline and methodology to have the ability to ship numerous iteration in a brief period of time to satisfy our deadline. All the things was developed based mostly on sensible references and we have been always push to ensure it isn’t solely cool however it’s based mostly on what’s on the market in the actual world!

How did you’re employed with the opposite distributors for the Dragon?
Picture Engine was the primary vendor for delivering the dragon animation. In a nutshell, they delivered the animation within the type of uncooked alembic cache and Scanline did the ultimate rendering and compositing the dragon into the photographs. The dragon asset in GoT is one thing that has advanced over a number of years. Over the previous 7 seasons numerous totally different distributors together with Pixomondo, Picture Engine and R&H contributed to the event of the dragon belongings. Scanline did additionally some animation work for the ep05.

Very early on, we acquired dragon lookdev package deal which included the mannequin and numerous totally different generations of the textures that have been stablished over years in addition to animation caches and remaining composite of some key photographs from Season 7 as reference to match to. We would have liked to match the ultimate look of the dragon as shut as potential to what was already established and on the similar time ensure that the dragon belongings is suitable with our PBR pipeline. Joe was very conscious of each facet of the dragon and knew its options out and in. We spent a substantial amount of analyzing the look and rebuilt the shaders from scratch for a greater integration into our pipeline

Are you able to inform us extra concerning the Dragon’s hearth?
It has been an ongoing custom in recreation of thrones to shoot the dragon hearth virtually and the season eight was no exception. The credit score goes to Joe Bauer, HBO’s supervisor which made positive photographs have been grounded based mostly on sensible parts the place potential. This in fact pushed us to match all our results to ensure the viewers don’t see a sudden bounce type a shot with sensible parts to a shot with digital parts. All of it wanted to be seamless.

Picture Engine offered blocking animation of the dragon which was locked at a really early stage. The dragon hearth was based mostly on a mounted flame thrower on a movement managed hydraulic arm which was pushed based mostly on an correct techviz pushed from blocking animation offered by Picture Engine.

In EP06, Joe took the dragon hearth course of to the subsequent degree and included a 3rd scale partial construct of the throne set for the hearth to work together with. For each shot, they have been capable of shoot a number of takes because of the movement management setup which gave us a variety of completely synchronized parts to mix for a extra complicated wanting impact. On one finish the flamethrower represented precisely the pre animated head of the dragon and on the opposite aspect we had hearth interplay with the third scale partial throne set which turned the inspiration of our hearth extension. No matter the place we used the sensible hearth parts and the extent of digital extension, we simulated digital hearth mimicking the timing and the dynamics of the sensible component and used it to mild the shot.

How did you create the varied armies?
We created full CG digital crowd of unsullied, Dothrakis on horses, Lannister’s soldier, scorpion’s operators in addition to number of King’s Touchdown civilians. Belongings have been constructed base on very excessive res Lidar scans and have been textured and lookdev in our PBR pipeline. We recorded quite a lot of motions for various factions in our movement seize studio and fed them trough our stablished large pipeline. We spent a variety of time on the belongings construct on each degree and made positive that they maintain up for shut up photographs. In some photographs we have been putting our digital characters proper subsequent to the filmed extras with seamless integration.

Which sequence or shot was probably the most difficult to create and why?
We had numerous challenges that wanted in depth improvement. King’s Touchdown full 3D surroundings in addition to the melting of the throne have been what we began the primary and completed in the direction of the top of the venture.

Is there one thing particular that provides you some actually brief nights?
Engaged on such iconic sequence of all time most anticipated TV occasion within the historical past provides you brief nights regardless on how a lot you might have every thing beneath management. Expectation was above and past and there was completely no room for any brief come. The power of everybody concerned eased the method and made it a extremely memorable expertise!

What’s your favourite shot or sequence?
In ep06, when John walks in the direction of the throne room, he will get confronted with the dragon which is buried beneath a pile of snow. I really like the composition and the way these photographs turned out. We spend a very long time to get the temper proper. Very dramatic moments!

What’s your greatest reminiscence on this present?
Engaged on such iconic sequences of the final three episodes of the ultimate season provides you the prospect to work with one of the best of the perfect! All of it felt like an enormous household with a unified aim and I can be endlessly grateful for his or her superb dedication and keenness. I keep in mind once we noticed the primary reduce of Danny’s demise sequence in ep06, despite the fact that it was all full of inexperienced and we didn’t have any audio, a few of the crew obtained very emotional and actually had tears! Highly effective photographs certainly!

How lengthy have you ever labored on this present?
We began with preliminary RnD in March 2018 and delivered our final photographs in April 2019.

What was the dimensions of your staff?
Over 250 artists in Scanline throughout all amenities labored on GAME OF THRONES. Everybody within the facility needed to be a part of it!

What’s your subsequent venture?
Scanline is all the time busy doing a number of tasks on the similar time. We have now a variety of tasks in line for the next months. Sadly, on account of confidentiality I can’t but converse concerning the subsequent challenge.

An enormous thanks on your time.

Scanline VFX: Official web site of Scanline VFX.

© Vincent Frei – The Artwork of VFX – 2019

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