They would still need interaction, falling debris, surges and airborne material. Preparing animated textures, for example, would either require shooting huge amounts of sand, for which they lacked time and opportunity, or generating it through a simulation and render, converting to a texture sequence and putting it on a plane. In the end, they chose to render all the sand in the same way вЂ“ as particles. Seeking the simplest solution, they considered such options as creating it as an animated texture on a plane, or a matte painting, and assessed whether the movement of the sand would be visible at certain distances. Their main preoccupation was handling and rendering the huge volumes of sand, required in wide shots. They would make a decision in the morning and a build would begin the same afternoon. They could judge and control how complex it became and the way it was shot, literally as it happened. It required numerous iterations and cycles to get right, but their close involvement with the scene, which was integral to the story and had emerged late in the production schedule, was a huge asset. FramestoreвЂ™s VFX Art Director Kevin Jenkins spent over four weeks in the production Art Department after his drawings had won approval, working through this sequence with Production Designer Wolf Kroeger. The critical sand room sequence the team handled at the end of the film takes place in an entirely CG setting, and is driven by what the FX artists have done with the environment, the look and even the final action.Дeveloping their concepts virtually from scratch made the project dynamic and creative for the team. Ben notes that this is a growing trend in VFX. He also ensured they would have enough tracking data back in London, updated camera and VFX floor sheets, and collected references, textures and HDRI for CG, set augmentation and unexpected shots.ДЇramestore contributed a fair amount to the concepts and story for the shots they were assigned. While Tom worked with the main unit, Ben would take second unit to work out the best way to shoot scenes requiring effects, set up witness cameras and act as the eyes and ears of the VFX team, should the unit make decisions that would affect their work later. From week two of the shoot, the production ran two units. Although in the final edit 124 shots remain, the artists worked on over 200 shots.Д«en spent six weeks on set in Morocco working with the filmвЂ™s VFX Supervisor Tom Wood. From Digital Media World MagazineДЇramestoreвЂ™s Visual Effects Supervisor Ben Morris and team put creativity, R&D and a heavy dose of hard work into the project. Indepth interviews with artists from four major VFX houses reveal the diverse new tools and techniques used to skilfully bring the fantasy to life. Jumping from UbisoftвЂ™s video game, the characters and creatures in 'Prince of Persia' inhabit a mythical world of adventure and romance.

Prince of persia 3d development artwork