top of page

ENVIRONMENT & LIGHTING

As Director and Writer, I reworked original Frag Lab idea into a screenplay with some cinematographic scenes leading the viewer to the inevitable clash. All production edits were assembled in Adobe Premier. The music in this story a kind unique, it was written especially for this trailer by our talented in-house composer.

 

As an Environment and lighting artist, I worked with the coastal location and a procedural scattering system that used to be editable for different cameras. There were used copy and instancing techniques to achieve more detailed shapes with various library assets. Lookdev some of those assets, to implement them a friendly look. Lighted and rendered some shots. The final composition was done by our team. Below you can see how this story grew.
 

I'm proud that I had an opportunity to work on this project, every shot is a team effort! Many thanks for the trust and feedback that my teammates did! Without you, it wouldn't look as it looks! 

BREAKDOWN

Happy to share the Shatterline trailer screenplay. Many thanks to our copywright team, who beautifully translated the original screenplay text into English!

01160e2f-a6e0-4fbd-802a-1ee4e67c7f21.jpg
b115fa92-a76b-457f-b0e4-caf4c3beac51.jpg
ede32e77-7f74-4c88-9a4b-b001ad3652b6_edi

After the screenplay, we started to draw the storyboards. Usually, I develop the story with the raw storyboards and test it in a timeline with the reference music to ensure the story works. In a further step, we re-drawn this raw storyboard with the concept artist's help.

56efd957-dca6-453f-a647-2e5ed514acdd.jpg
7a9cdba1-d0b7-4e7e-b75e-da400d3b8970.png

Director's storyboard.

That is the re-drawn storyboard by our talented concept artist, you can see there how we tried to not lose the idea with the coming "dusk", and some cool composition views as well.

The more people come to the project - the more ideas appear, and that is the path, but it is necessary not to lose the direction of the plot and tasks that the trailer should solve. Every new idea can improve the story, as well as kill it completely. Below you can see a page from the director's treatment, where we highlight the best ideas in each shot that helped us to push this story forward.

a7e6fe47-cc8a-4bf2-ae3f-17870ac94634.jpg

If a shot says nothing to the audience - it’s useless.

Usually, for a better understanding of the story's look and feel, I assemble a 2d animatic with the reference music and we even planned to buy it, but in further steps, our composer offered to write an original soundtrack for this trailer and we knew that would be unique and epic!

And this looks like a story already! At this point, I started to break down the script and 2d animatic. Here is an example of some useful docs that I did.

509306a1-4ca7-40e9-880f-a979db638dd3.jpg
72032392-8a2d-4d5c-967d-388839cd6def_rw_1920.png
3d4e8bfd-97c7-44c0-a021-9e4ef3b52579_rw_1920.png
b050dc6f-1ab8-4e98-a1df-69545f760964_rw_1920.jpg

Before the production storm, it is always good to have a clear vision of the story, and our concept artist did stunning work. I'm happy to share some of the concepts here.

b796ce54-522e-473d-a546-25ba88defd72_rw_1920.jpg
0e3f8066-335e-4ce9-b2e5-3ca94eacce2e_rw_1920.jpg
aa0a36d7-2e6d-4e40-a3ac-7065797d5b5a_rw_1920.jpg
0f60446d-fc59-46db-b86f-263553eb9c71_rw_1920.jpg
e252e7a8-561b-4f84-8133-bbf6f98d7873_rw_1920.jpg
b0a0d4d4-783b-498b-a552-758d98c3f37e.jpg

Additionally, we established a trial environment within the Unreal Engine, conducting real-time research on various aspects. It was a challenging task--and I had some doubts--but our team solved it beautifully from scratch. Before the actual shoot, we conducted extensive motion capture tests, and the impressive results seamlessly transitioned into the production phase. These behind-the-scenes efforts proved instrumental in saving significant time, particularly during on-set interactions with real actors. A heartfelt thank you to everyone who fearlessly collaborated on the motion capture front!

In the earliest stages, we even scouted the location and tested the action with our in-house shooting operator from the broadcast department. That was truly a deep-dive project, and also I want to thank our DOP for the camera vibe! Now I can talk about the production stage where I worked a bit as an Environment and Lighting artist.

LIGHTING & ENVIRONMENT

Many thanks to our modelers and animators team who did fantastic work to bring those characters to life, as well as our talented composer team that pushed the render limits to the awesome result! Below you can see shots I worked with.

And some location WIP iteration that I did.

The crystals digital asset was created by our amazing tech-artist team for the infection shot. 
Many thanks for that masterpiece!

And here are some WIP steps from the last shot. I started to work with the environment and did some cosmetics, but that shot was brilliantly finished by our team. You also can see the concept vs render comparison.

b0a0d4d4-783b-498b-a552-758d98c3f37e.jpg
e618640e-ce56-42eb-baa6-de8b77d2e4fd2.png

And that's how awesome that shot looks right after the Redshift render.

At the end of all, our team did a cool breakdown with some backstage stuff.

And that's it! That project was an amazing teamwork example where nobody remained indifferent. Thank you all for such a great result! Without your help, it wouldn't look the way it does!

And thanks for your time!

AWARDS

CREDITS

credits.png

SPECIAL THANKS

Wargaming, Frag Lab, Playsense, Mocap One, Actionscool

bottom of page