We started with broad strokes and we slowly zoomed into the tiny details like anisotropic filtering, dirt maps on the glass, and kept adding layers of detail to the CG build until it looked photoreal.” Rotomation of the characters was a critical part of the process. Pictures were shared of what this sequence might look like. Early on, Björn and I talked about other references. “It gave us a good starting point and base to ground our CG. “Björn knows what he wants, and they had actually built quite a big set of the awning, but we ended up replacing all of it because you have reflections in the pieces of glass such as crew members and bluescreen,” Towle remarks.
Clear and concise instructions were articulated by Mayer.
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