The Last of Us - VFX Breakdown by DNEG
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The Last of Us - VFX Breakdown by DNEG
Check out this amazing & insightful VFX Breakdown "The Last of Us" by the talented team at DNEG. For more information, please see the details and links below :
https://www.dneg.com/
DIRECTORS - Ali Abbasi, Kantemir Balagov, & Jasmila Zbanic
WRITERS - Neil Druckmann & Craig Mazin
EXECUTIVE PRODUCERS - Neil Druckmann, Rose Lam, Asad Qizilbash, Carter Swan, Craig Mazin, Carolyn Strauss, & Evan Wells
PRODUCTION COMPANIES - Naughty Dog, PlayStation Productions, Sony Pictures Television, The Mighty Mint, Word Games
DISTRIBUTOR - HBO Max
DNEG VFX SUPERVISOR - Stephen James
DNEG VFX PRODUCER - Jess Brown
DNEG was one of the lead VFX studios on The Last of Us, responsible for over 500 shots in the series. Their work included creating the post-apocalyptic world of the show, including destroyed buildings, overgrown vegetation, and the infected creatures that roam the landscape. They also worked on a number of specific sequences, such as the opening scene in which Joel and Ellie escape from a burning city, and the final episode in which they encounter a herd of giraffes in Salt Lake City.
DNEG used a variety of techniques to create their VFX, including 3D modeling, animation, and compositing. They also worked closely with the production team to ensure that their work was seamlessly integrated with the live-action footage.
The VFX work on The Last of Us was widely praised by critics and audiences alike. The show was nominated for several awards for its VFX, including the Emmy Award for Outstanding Visual Effects for a Single-Camera Series.
HBO's adaptation of the critically acclaimed video game, The Last of Us, has been one of the most highly anticipated TV shows of the year. To create the show's immersive world, the team at DNEG faced the daunting task of creating massive environments that spanned locations in Austin, Boston, Kansas City, Salt Lake City, and Jackson, Wyoming. With tireless efforts from an in-house team and multiple location shoots, they were able to capture all the necessary data to bring the world of The Last of Us to life on screen.
As one of the main VFX partners for the show, DNEG used a wide range of techniques to bring the world of The Last of Us to life by constructing skylines, destroying buildings and adapting landmark locations.
To achieve this seamless integration of visuals and story, the team compiled extensive reference of real-world locations to inform their decision making on abandoned structures and communities, vehicles left exposed to the elements, collapsed buildings, and how degradation occurs under different conditions. They also travelled to the show’s key locations to photograph reference areas to then recreate them as the photo-real environments seen in the show.
The DNEG team did not cut any corners when it came to the design of the environments, and spent a lot of time ensuring that nothing existed simply for the sake of it. For instance, they made sure that vegetation growth was heavier in areas where moisture and light were prevalent. Most of the vegetation was procedural, created in Speedtree, and then procedural scattering techniques in Houdini and Clarisse were used to populate the scenes. The ivy systems, created by DNEG’s Environment Supervisor Adrien Lambert, were a complex procedural setup of multiple ivy genus that allowed for control of interconnecting living and dead growth.
One of the most challenging locations for the team to create was the rooftop of the Bostonian Museum, which required an elaborate and accurate build of a specific Boston district. The team utilised photogrammetry and open source data in conjunction with their location photography to extensively build out downtown Boston, and used the city bombing as a justification to alter the skyline just enough to allow all the narrative points in the short sequence to be hit, including the final unobstructed view of the Statehouse.
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