Weath­er­ing Was the key to bring­ing Mortal en­gines’ postapoc­a­lyp­tic lo­ca­tions and ve­hi­cles to life

3D World - - FEATURE -

Since the film hap­pens some time in the fu­ture, after a mas­sive war and ge­o­log­i­cal event, it was im­por­tant for Weta Dig­i­tal to re­flect the pas­sage of time in its tex­tur­ing of 3D ob­jects. The con­structed sets for lo­ca­tion shoot­ing also pro­vided in­spi­ra­tion.

“We fac­tored into our ma­te­rial tem­plates how cer­tain types of ma­te­rial would cor­rode, which was a big part of the tex­tur­ing,” says vis­ual ef­fects su­per­vi­sor Luke Mil­lar. “Places like Lon­don had a brown rusty ox­ide, while Airhaven, which was more heav­ily alu­minium based, would have a dif­fer­ent kind of cor­ro­sion which was more white alu­minium ox­ide.”

Artists used Foundry’s Mari for 3D tex­tur­ing, with in­di­vid­ual look de­ci­sions based very much on the dif­fer­ent ma­te­ri­als of this postapoc­a­lyp­tic world.

Re­calls Mil­lar: “We’d say, ‘Well, this needs to be made of steel, and it needs to be painted, but some of the paint­ing will be chipped away. The mod­el­ling and tex­tur­ing teams would es­sen­tially draw down from those looks, which they had preestab­lished. And then it just be­came de­tails on top of that in terms of what colour paint, or how much weath­er­ing, or how much cor­ro­sion was nec­es­sary.”

the phys­i­cal sets built for Mortal En­gines helped in­spire the 3d tex­tur­ing ap­proach by Weta dig­i­tal

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