MADNESS

To present the different possibilities of how users may interact with the game, we sought to meld both the digital and real worlds — an approach that was only possible through the marriage of conventional film production storytelling and visual effects technology.

This meant that our CG artists didn’t just bring game world elements into the real in relatable scenarios suggestive of their game world counterparts, they were also heavily involved in the process of imagining and designing the game world and its characters.

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METHOD

As firm believers that process determines output, our kernel concept of converging two worlds had to extend beyond the creative outcomes our directors were gunning for. It meant a conscious, deep-seated integration between live-action production processes, post production and visual effects pipelines with neither relegated as an after thought to each other. 

From blurring the lines between practical effects that lended physical interactions to our live-action cast and sets, and visual effects for elements that just weren’t possible in the real world, to a tailored post production pipeline that didn’t merely account for the myriad of tools and colour spaces our teams had to work with - Maya for modeling, Substance Painter for textures, NukeX for compositing, Houdini for VFX and Davinci Resolve for colour grading - but also when in the pipeline they came into play.

This re-engineering of our processes was necessary in delivering on a believability our directors placed emphasis on, especially in a film that is as character driven as this is.

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