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The essence of Netflix’s post-apocalyptic sci-fi series The 3 Body Problem is contained in an immersive VR game designed by the alien Santi. This headset-based VR game transports players from China’s Shang Dynasty to Tudor England to Kubla Khan’s Xanadu, an alien planet that results from living in an unstable three-star solar system. Reenact the chaotic destruction of
In adapting Liu Cixin’s acclaimed novel, showrunners David Benioff, DB Weiss (“Game of Thrones”) and Alexander Wu directed Destroyer”) made VR games a VFX centerpiece from an early stage. (“Wally”). Here, cosmologist Jin (Jesu Hong) and entrepreneur Jack (John Bradley) stand on the observation deck of the Kubla Khan Pleasure Dome as reverse gravity forces him to watch 30 million people being sucked into the sun. I’ll witness it. Trippy CG effects by Scanline.
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“I always think virtual reality is for people who can’t afford reality,” VFX supervisor Stephen Fangmeier (“Game of Thrones”) told IndieWire. “I thought about VR and video games, but this was different in the sense that it was more realistic because you could smell, touch, and taste. You could also wear different clothes and the environment. In a way, it’s like dreaming because things change.”
Fangmeyer considers the VR game to be a metaphor for global warming, in which aliens help humans understand what’s happening on Earth and when they arrive 400 years later, their We believe we created this game as a communication tool to help people sympathize with their plight. “I thought we could make this surreal,” he said. “But I think that would take away from the theme.” Kubra was the only person who had any interaction with Vanmeyer and Stanton (who recently directed the existential sci-fi blockbuster In the Blink of an Eye for Searchlight Pictures).・My job was to create previs shots for Khan’s sequence.
The VR environment is very simple until you reach Kubla Khan (shot on a blue screen stage at Shepparton Studios in the UK). Then there’s the comic relief of 30 million people forming a binary human computer, surrounded by soldiers on horseback, and Jen and Jack being boiled in water, all capped off by a reverse gravity sequence.
“The only set piece we had was probably half of that platform on the observation deck,” Fangmeier added. “And as they came walking through the ranks of soldiers and servants, [Eve Ridley]It was 50 guys in costumes on a stage with sand on the ground and a blue screen all around. Then you go up on deck and there are actors, special effects and stunts. And except for some close-up soldiers floating by the platforms, where I wanted to see faces shot some elements in front of a blue screen, everything else was all computer-generated. ”
Additionally, in Episode 3, cinematographer PJ Dillon (“Game of Thrones”), coordinated by fellow cinematographer Jonathan Freeman, used LED light panels on stage to facilitate rapid changes in the sky from day to night. to express three unstable gravity forces. Sun. “The idea was to make it feel like the lights were flickering on the podium and on the actors,” Fangmeier said. “This was a refreshing attempt to do something new and use new technology to do it.”
VFX supervisors enjoyed “3 Body Parts” diverse and often eccentric effects from many other studios (BUF, El Ranchito, Pixomondo, Screenscene, etc.). The content ranged from numbers in the sky to panoramic reflections on VR gaming headsets, the destruction of a strange tanker, and an interstellar climax.
“Some things were easier than we anticipated, but others were much more complex in terms of creative design,” Fangmeier said. “And in the end, we all came to the conclusion: ‘I don’t know if this is scientifically accurate, but it just makes it look cool.'”
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