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Following a catastrophe on Earth, the planet is covered in a toxic fog. The crew in the space station, must decide whether to risk their lives to get home and search for survivors, or stay safe in the station's "algae symbiosis system".
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Following a catastrophe on Earth, the planet is covered in a toxic fog. The crew in the space station, must decide whether to risk their lives to get home and search for survivors, or stay safe in the station's "algae symbiosis system".
Scroll down
Following a catastrophe on Earth, the planet is covered in a toxic fog. The crew in the space station, must decide whether to risk their lives to get home and search for survivors, or stay safe in the station's "algae symbiosis system".
ROLE
Senior Digital Matte Painter
TIMEFRAME
Between May 2022 & November 2022
Summary / Solution 🌱
Imagine a low budget production that is also created in Austria, not USA and make an epic adventure out of it. It think this describes "Rubikon" perfectly. Even if this movie is a low budget production, the production itself including the visual effects felt very high budget. Hired by the VFX Supervisor Franz Brandstätter was my responsibility to create matte paintings of the toxic fog from space.
Copyright disclaimer: The copyright remains to the respective owners of this project!
ROLE
Senior Digital Matte Painter
TIMEFRAME
Between May 2022 & November 2022
Summary / Solution 🌱
Imagine a low budget production that is also created in Austria, not USA and make an epic adventure out of it. It think this describes "Rubikon" perfectly. Even if this movie is a low budget production, the production itself including the visual effects felt very high budget. Hired by the VFX Supervisor Franz Brandstätter was my responsibility to create matte paintings of the toxic fog from space.
Copyright disclaimer: The copyright remains to the respective owners of this project!
ROLE
Senior Digital Matte Painter
TIMEFRAME
Between May 2022 & November 2022
Summary / Solution 🌱
Imagine a low budget production that is also created in Austria, not USA and make an epic adventure out of it. It think this describes "Rubikon" perfectly. Even if this movie is a low budget production, the production itself including the visual effects felt very high budget. Hired by the VFX Supervisor Franz Brandstätter was my responsibility to create matte paintings of the toxic fog from space.
Copyright disclaimer: The copyright remains to the respective owners of this project!
Deep dive into the solutions
The toxic fog
When I joined the project in the first place did we had issues in getting the toxic fog in the planet realistisch if we only use FX for the shots. I know we needed some movement and a lot of details to sell the shots. Therefore we decided to go with fully 2D matte paintings.
The toxic fog
When I joined the project in the first place did we had issues in getting the toxic fog in the planet realistisch if we only use FX for the shots. I know we needed some movement and a lot of details to sell the shots. Therefore we decided to go with fully 2D matte paintings.
The toxic fog
When I joined the project in the first place did we had issues in getting the toxic fog in the planet realistisch if we only use FX for the shots. I know we needed some movement and a lot of details to sell the shots. Therefore we decided to go with fully 2D matte paintings.
The fog is coming
These shots are the first one I worked on. They should establish the fog regarding style and details level to get a better feeling for the scale.
Some technicial details
I created for the movie around 8 digital matte paintings within 4 month. Each matte painting had around 12k pixel on the longest side; the file size was about 3-8 GB per painting. At the end of each process got the compositing department around 6-12 layers in 16BIT with enough overscan to simulate the fog movements in 2.5D..
Some technicial details
I created for the movie around 8 digital matte paintings within 4 month. Each matte painting had around 12k pixel on the longest side; the file size was about 3-8 GB per painting. At the end of each process got the compositing department around 6-12 layers in 16BIT with enough overscan to simulate the fog movements in 2.5D..
Some technicial details
I created for the movie around 8 digital matte paintings within 4 month. Each matte painting had around 12k pixel on the longest side; the file size was about 3-8 GB per painting. At the end of each process got the compositing department around 6-12 layers in 16BIT with enough overscan to simulate the fog movements in 2.5D..
Fully captured earth
The hero shot with the fog canyon is my favorite of the show, besides the establishing shot took this shot longest to work on because the goal was to get a canyon feeling with different elements within the canyon to sell the size of it.