With that edit in hand, we use the virtual camera system here in our virtual production studio to create realistic cameras for each shot.įrom there, the production moves into Maya (where the initial model and rig were created). Once that session is completed, an edit with selects is created. The story here has three acts, and the characters have story arcs, the same as in a real film, so it engages everyone involved in the creation on a deeper level.Ī broader sense of our usual process consists of creating a series of storyboards and a board-o-matic to guide our motion-capture session, which is done here in DD’s virtual production studio by Gary Roberts and his team. Creatively all of the artists have an investment in the project. This more sophisticated approach means that instead of just producing a bunch of shots that don’t really tie together, you end up with a cohesive visual piece that shares assets across the show, which lets us create a better end product. We try and implement our virtual production pipeline on CG projects whenever it’s appropriate, treating them like live-action film productions. What was your approach on this commercial? We all kept referencing the same movies like ALIEN and THE THING so we were on the same page from the beginning. They had their concept so I gave them a visual pitch on how I thought their story could be told. I love video games so it’s a great place to be right now.ĭraftfcb San Francisco wanted to work with us. The video game space is expanding rapidly. I’ve been signed as a director at Mothership since January 2012 and have been getting more and more video game spots and cinematic jobs. Accompanied by Aladino Debert, he explains his work on this DEAD SPACE 3 commercial.Ĭan you tell us about your work at Mothership? He then joined the team of Mothership as director. He talked about his work at Prime Focus on AVATAR.

Dead space helmet gif