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Author: Lauren Brady

VFX Futures Podcast: Facial capture, CG and cut scenes on Codemasters’ ‘F1 2021’

How do cut scenes in games get made? For the story mode ‘Braking Point’ cinematics in Codemasters’ F1 2021, our team took motion captured performances and delivered final shots with Unreal Engine, the first time we’d employed the game engine like this. It was also the first time we used DI4D’s new digital double animation pipeline, PURE4D, for facial capture.

To get a handle on how this worked for the cut scenes,  befores & afters’ Ian Failes chatted with our CG director Ian Jones and DI4D co-founder Dug Green in his latest VFX Futures podcast.

Subnautica: Below Zero Trailer lands Special Merit at the AEAF Awards

Our work on the Subnautica: Below Zero launch trailer has been awarded Special Merit at the Australian Effects and Animation Awards (AEAF). The trailer also recently picked up Best Effects / Animation at the Vega Digital Awards.

It’s the third cinematic trailer created for the much loved open world survival action-adventure game. Set two years after the original game, and in the arctic region of Planet 4546B, the game marks a new chapter in the Subnautica Universe – a story that the REALTIME team was delighted to help bring to the screen.

Many congratulations to our team, the AEAF jury and everyone at Unknown Worlds Entertainment.

The Watch premieres on BBC 2

TV series The Watch had it’s UK premiere on BBC Two this week! The series, based on a group of misfit cops, brings Terry Pratchett’s fantastical Discworld to the small screen. We delivered extensive post-vis, high-end VFX and animation for the series, including crafting two very different types of dragon – from concept to final creature.

Produced by BBC Studios Drama Productions, all eight epic episodes are also available on BBC iPlayer. We hope your enjoy!

REALTIME delivers cinematics in record time on Codemasters’ new F1 2021 game

Working on media for a major sports game franchise poses a complicated set of challenges. Not least of these is the weight of expectations from the fans. From soccer aficionados to race car enthusiasts, devotees expect the content around sports games to be as up-to-date as possible with the current season’s players, kits, and sponsors.

We spoke to Unreal Engine about our recent project for Codemasters‘ ‘Braking Point’ story mode as part of their new F1® 2021 game. Tasked with crafting five variations of cut-scenes, each version showed a different team, with different branding, colors, and uniforms for the players to select from. Ian Jones, CG Director, explains how our team tackled the challenge of turning over two and a half hours of cinematics in just a few weeks, using UE4. Read the full article here.