![]() ![]() “This was a joyful part of the screen content creation process where we instead began by combining physical (optical lenses/old school projectors ) macrophotography and photogrammetry (fruit/meat ) and graphics techniques along with concepts from the art department to play around with texture and structure that led to the development of some interesting low-rez organic meshes and unique visual references. “We forgot about established design workflows and spent the initial phase researching and experimenting with alternative methods to replace LED screen bioluminescence and actually avoided CG,” Eszenyi outlined. With an open creative brief, the Territory creative team started to think about how computer graphics display technology would function and look in this new world without relying on liquid crystal displays, analog and cathode-ray tube technologies. The Insydium X-Particles plug-in for Cinema 4D was also a key tool for particle simulation creation. ![]() ![]() Final rendering was done with the native Cinema 4D render engine along with Vray and Arnold. Screen graphics elements included the creation of footage, optical effects, and projections and included concepts to production, many of which were shot with actors on set and others that were distributed to other VFX vendors working on the film. During the six-month production cycle on Blade Runner 2049, Territory tapped the software, to meet intensive modeling, rendering, lighting, shading and particle simulations challenges essential in delivering over 100 very original screens across 15 sets on key narrative sequences. “Villeneuve did not want the design direction of the technology in Blade Runner 2049 to directly reference the original 1982 Blade Runner, rather his directive was to ‘reinvent’ computer technology and give it distinct organic, abstract, optical and physical qualities that felt like the same world 30 years later but could aptly represent the scale and impact of the ‘Blackout’ that destroyed digital capability and data files and basically made digital technology unusable – all key story elements in the film.” Deeply Integrated into PipelineĬinema 4D has been in use since Territory Studio’s inception in 2010 and has played a key role on high profile VFX projects such as Ghost in the Shell, The Martian, The Avengers: Age of Ultron, Guardians of the Galaxy, Jupiter Ascending and Prometheus. Under the creative direction of Andrew Popplestone, and Creative Lead Peter Eszenyi, the Territory team initially met with Villeneuve and Supervising Art Director Paul Inglis during pre-production in Budapest to discuss the theme of the Blade Runner 2049 universe in terms of progression and how technology should look and feel in the context of the broader themes and how the actors would relate them. K’s discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former LAPD blade runner who has been missing for 30 years. The film features a new blade runner, LAPD Officer K (Ryan Gosling) who unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. Oscar Nominated VFXīlade Runner 2049, directed by the Oscar-nominated director, Denis Villeneuve (Sicario, Arrival) takes place three decades after the events of the first Blade Runner film in the aftermath of the ‘Blackout’, an apocalyptic type of episode that has deeply altered day-to-day life and technology in Los Angeles. ![]() FRIEDRICHSDORF, Germany - December 06, 2017, MAXON, the leading developer of professional 3D modeling, painting, animation and rendering solutions, today announced London-based Territory Studio made extensive use of its acclaimed 3D software solution, Cinema 4D, as a cornerstone digital content creation tool on Blade Runner 2049 to produce story specific screen graphics and concepts for on-set and post that appear extensively throughout the Warner Bros./Alcon Entertainment iconic sci-fi sequel. ![]()
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