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Tag: Cinematics

REALTIME celebrates 25 years in the business

We are celebrating 25 years of REALTIME – a major milestone for an independent studio in the VFX and animation space. 

Launched in 1996, we started out in Archvis and CG imagery and animation for the automotive sector for clients including McLaren, Audi, and Ford. We soon found a new niche in creating award-winning video game trailers and in-game cinematics for clients across the globe, including Rare, Codemasters, Disney Interactive and Microsoft Game Studios. Our speciality in story-telling and character animation can be seen in viral trailers including SMITE: To Hell & Back, Game of Thrones: Winter is Coming and, more recently, Subnautica: Below Zero. 

In the last few years, we’ve made the move into the broadcast sector, crafting photorealistic VFX and animated characters for shows including BBC’s The War of the Worlds and Sky TV’s A Discovery of Witches. We established a TV VFX department to further support this effort, expanding the size of the studio by 60% in 2021. 

Says Tony Prosser, CEO: “It is an extremely exciting time to be in the CG space, as we are seeing a huge growth in the demand for high-quality content across the automotive, games and broadcast sectors. Being a local home-grown company from the North-West, we are hugely proud of our history and legacy. 

The focus for the next few years will be nurturing fresh talent that can benefit from the well-seasoned experts that we already have at REALTIME. Remote working is key to growing our team and during the pandemic we’ve proven, to ourselves and to our clients, that we can produce world class productions when we’re not all in the same room.” 

In our 25th year, we are also celebrating several award wins and nominations: our work on the second season of A Discovery of Witches is a finalist for Best VFX at the Broadcast Tech Innovation Awards and the viral trailer for Unknown Entertainment’s Subnautica: Below Zero won the Vega Digital Award for Best Animation. Both projects were awarded a ‘special merit’ at the AEAF awards earlier this year. 

Watch the below reel to find out more about how the studio started and our plans for the coming years:

 

 

 

REALTIME @ View Conference

We’re absolutely delighted to be at View Conference this year – virtually presenting on the making of the Subnautica: Below Zero games trailer for Unknown Worlds Entertainment.

The games trailer currently has over 2 million views on Youtube and has won industry-leading awards for its innovative storytelling in CG. REALTIME’s Director, Stu Bayley, and Animation Director, Nicolas Seck, will discuss how the team crafted comedy into the narrative and created a believable, grounded character in a fantasy world. Join us on Sun, Oct 17.

 

F1® 2021 | Braking Point – Behind the Scenes

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.

 

Watch our Subnautica presentation @ 24 Hours Of Chaos 2021

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:

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.