Post-production exposed: Untold & One Of Us in The Sandman (Netflix) | News

Untold and One Of Us have revealed their VFX work on Netflix’s The Sandman.

Originally a comic book series by Neil Gaiman, the author worked with executive producers Allan Heinberg and David S. Goyer to bring it to the streaming platform. The Sandman, also known as Dream, is a powerful cosmic being who controls all of our dreams, and when he is unexpectedly captured and held prisoner for over a century, he must travel through different worlds and timelines to fix the chaos that has occurred. caused his absence.

One Of Us, with a team of over 100 VFX artists led by VFX Supervisor James Brennan-Craddock, VFX Producer Catherine Martin, and 2D Supervisor Nathan Remy, provided 240 VFX shots for the series. His work concentrated on sequences from the first ten episodes of the series, when the barrier between dreams and the real world was breaking down.

Brennan-Craddock explained, “Maintaining the balance between the fantasy of a dream and the visibility of the real world was tricky. The tower room ceiling sequence, for example, was initially going to be just the ruins of a castle. The characters were in it surrounded by large storm clouds above. So we had the clever idea of ​​making the stone walls literally rip like a fabric of reality. So they started to react like fabric and rip and tear like fabric does. So we had the opportunity to make it feel real, because at the same time we knew it was something that could never be real.”

Scenes the team worked on included the character Desire’s shimmering red room, a sequence where a man dreams he’s on a beach that turns into a desert, a snake, a cat’s tail, beautiful country settings, a postmodern house design and the Corinthian character: a major antagonist who has teeth instead of eyes.

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“Over the course of the show, there were a lot of creative questions that the director wanted us to help solve,” added Brennan-Craddock. “There was a brief one, of course, but very rarely was it an end goal. It was more ‘let’s see how it goes’ and they gave us space to explore and bring the ideas to a more exciting end point.”

Meanwhile, Untold produced over 360 visual effects shots for the series, both across the original ten episodes and the bonus entries, A Dream Of A Thousand Cats and Calliope. These included painterly 3D animated cats, right up to Episode 3’s wraparound portal to hell scene, as well as ‘Fiddler’s Green’, which sees Stephen Fry transform into a forest, and the riveting ‘Desire’s Threshold’ sequence.

Untold Studios Executive Producer Genevieve McMahon revealed: “VFX General Supervisor Ian Markiewicz was one of the most supportive, encouraging and open-minded people to work with. There was a real sense of exploration and trust in the relationship, so we had an unusual level of autonomy and dialogue about the evolution of visual effects for our sequences. He articulated the Showrunners’ messages very clearly in terms of the look they were going for, but he really left the door wide open for us to let our creativity run wild.”

VFX Supervisor James Hattsmith added: “Our work on The Sandman is incredibly diverse and each episode brought new and exciting challenges. Source material is beloved and incredibly well done, so our main focus was always to do it justice and then bring it into the “real” world while balancing a fantastical feel with maintaining tangibility. We had a lot of fun helping develop the look for some of the show’s key moments.”

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One particularly interesting area was the cat animation for the additional story, A Dream Of A Thousand Cats, where the team strayed away from the comic book feel. Untold Animation Supervisor Tim Van Hussen explained, “We worked closely with director Hisko Hulsing to get the right level of detail in the cats’ fur, eyes and facial features. Since the Submarine team would treat all of our renders painterly, the goal for us was to create the photorealistic house cats from the comic, but then stylize the assets to optimize rotoscoping. We went for an animation style that didn’t break the rules of what real cats would or could do, for a grittier, more serious tone from the original comic.”

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