Godzilla

This team was led by show Supervisor Sepp Sonntag, DMP Art Lead Pier Lefebvre, and Lead Environment TD Daniel Rhein. We were challenged to deliver the last act of the film which included skies for the Halo Jump, and the city of San Francisco (before and after the battle). The digital environments were a big challenge requiring complex matte paintings and environment work. Before we could destroy San Francisco, we needed to build versions of it with lights on and off. We were lucky to have a comprehensive set of reference photos taken on location by Sepp. The project was well organized. The combination of organization, and experienced leads proved to be invaluable towards meeting the demands of the complex deliverables.

FG, MG, and BG building construction and destruction was required for this sequence.

Destruction, fire and fire glow passes, were required for this sequence.

Set extensions and set dressings (signs and different rooftops) were added to make the street look more like San Fransisco's Chinatown.

Matte Paint: Replace sky and buildings. remove chromatic aberration and reflections, and separate lights (so comp could make them flicker off and on.

Matte Paint: sky, and Nuke setup

Matte Paint: sky, and nuke setup. Building the sky for the Halo Jump required dozens of layers (FG, MG, BG) of cloud shapes to give the impression of depth and falling through the clouds.

Neutral look dev. of San Fransisco: overcast day, before destruction

Look dev. of San Fransisco: night, after destruction

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