Take a look at some exclusive behind-the-scenes insight on how we crafted the cinematics for F1® 2021‘s story mode – Braking Point. Featuring the teams, drivers and circuits for the 2021 FIA Formula One World Championship™, we took the reins on crafting over thirty-five minutes of unique cinematic content for their brand-new story mode ‘Braking Point’ – and we did it all during a global pandemic.
24 Hours of Chaos is the global CG event by the community for the community. A friendly online gathering of 3D artists and designers from around the world working in ArchViz, VFX, Animation, Gaming, Product Design and more brought a series of 12 back-to-back online sessions powered by Chaos, SiNi, Autodesk and many great community partners.
Our Director, Stu, and Animation Director, Nicolas, kicked off the event, taking to the virtual stage to present our work on the award-winning games trailer Subnautica: Below Zero. Watch the 20 minute presentation below:
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.
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.
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.