John Oliver as Zazu, and JD McCrary as Young Simba,
#Martin mpc beam fx movie#
We then needed to figure out what we would have to write in order to shoot the entire movie in VR and integrated this with a major visual effects pipeline”. “We started by sketching out ideas around throwing out all the old visual effects based software and switching completely over to game engines. The project was always intended to improve upon the lessons learned from making Disney’s The Jungle Book. Magnopus got involved with the Lion King project just before October of 2016, which was right around the time the idea came up to do the Lion King. They were joined by James Austin as another CG Supervisor. Julien Bolbach was MPC’s first CG Supervisor working on sequence work, which was the Buffalo Stampede sequence. Oliver Winwood was the CG Supervisor but he started as the FX supervisor.
Elliot Newman was the other MPC VFX Supervisor. Oscar-winner Andy Jones headed the Animation team at MPC, with Adam Valdez as the Visual Effects Supervisor. They worked hand in hand with the creative team, especially director Jon Favreau, DoP: Caleb Deschanel, visual effects supervisor: Rob Legato and the team at Magnopus, headed by Ben Grossmann, to innovate the art of virtual production. MPC was the visual effects and animation company that provided the stunning visuals. The quality of the character animation, the look of the final rendered imagery and the innovation in making the film are just as impressive as the incredible box office success of the film. Jon Favreau speaking at the UE4 User group at SIGGRAPH in LA They succeeded in creating a system that allowed Jon Favreau to direct a movie with high quality, real-time, interactive components, – ‘shot’ in context – while still making a completely computer-generated film. Coupled with game engine technology, they advanced the art of virtual production and produced visual effects and animation combined with a traditional physical production approach. With the Lion King, the creative team sort to take advantage of the revolution in consumer-grade virtual reality technology. With the traditional, iterative approach it can be frustrating for a director to direct a scene when he or she is only directing one component at a time.
#Martin mpc beam fx how to#
3) Use reduced integration, but always check for hourglassing.Disney’s The Lion King aimed to solve a classic VFX/animation problem, namely how to direct a story when the director can’t see all of the things that they are directing. 2) However, for plasticity you need an element of CCX type. So what do I learn from all of this? 1) The classical beam element is still by far the best for elastic analysis. The small error I got was due to numerical rounding. This implies that up to linear loads can be calculated without theoretical error. You can get funny zero energy patterns (called hourglassing).įinally, the traditional beam element with 3 nodes has 6 degrees of freedom and can therefore represent a 5th degree polynomial displacement exactly. However good results with reduced integration are not guaranteed for all situations. The same element with reduced integration (B32R) should perform much better for this example.
That's what you can get when you use volume elements for beams, plates and shells.
Also, I now think I know why the CCX 3-Node element behaves so poorly.
#Martin mpc beam fx manual#
So the manual change I made to *CLOAD had no effect. The shape functions I used are for a classical 3-node Hermitian beam but in CCX this is translated into a volume element.