STORYTELLING
Although we were inspired by the Sci-Fi Movies, we wanted to localize the idea and establish a connection that was concretely relevant to the structure of a journey with an Oculus experience of about 5 minutes. We did this by drawing parallels between the visual references established by space science fiction, such as warp jumps, wormholes or asteroid fields to which we always find references. From interpreting an immense space, full of light and color, to crossing the moon to reach Mars and finally Saturn, where within the asteroid field of its rings, we find the gateway to the citadel where many space races live.
Music Artist:: RAUW ALEJANDRO
Media Agency: Culture Create
Production: Raúl Cosculluela Suárez
Production: Raúl Cosculluela Suárez
VISUAL Production & Development: LOVO VFX
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HOW WE MADE IT
Our initial goal for this project was to explore landscape design and a more cinematic language. The results of the design process dictated the animation style and therefore the final montage, which was ultimately enhanced by integration with the sequenced events.
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INTERIOR TO EXTERIOR OF THE SPACESHIP
For the container of the story, we developed the interior of a spaceship, spherical in shape, which would allow us to have a better integration with the surrounding space, by having a skeleton that would be reinforced in a glass dome, plus it was also suitable for the 360 degree format that this project required.
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The exterior of the spaceship went through several levels of design, we intended to design an object driven by an acceleration on its back, with a kind of antennas that would allow directing the object in constancy to the surrounding space. Originally, the cockpit is reinforced with an exoskeleton covering the dome, to allow it to protect itself from high temperatures and friction with the environment.
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DESIGN SCI-FI HOLOGRAPHIC UI ASSETS
The holographic interfaces created for the airline logos, as well as for the controls, were intentionally developed with a cylindrical structure, so that they would function as a totem, facing the viewer, allowing a frontal and undistorted reading on the spherical projection of the 360 video.
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Having a structure that contemplated an extensive timeline, we chose to design them in the form of loops, so that they could have an extensive exposure and transition with distortions. In addition, we developed effects for the spaceship design, which would allow us to use them in specific moments of the experience, accentuating the danger or the cruise flight.
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STAGE PRODUCTION
STAGE PRODUCTION
Seven scenarios were established for the entire journey, we start by leaving the earth, go around the moon and find a wormhole that takes us to an asteroid field outside of mars, where we make a warp jump, which allows us to reach saturn where we approach its rings and enter the space citadel.
The structure was always set in this direction, which allowed us to concentrate on each of the scenarios independently, and led us to solve the requirement in duration vs. production time. This project took about 4 weeks to complete, and the biggest challenge for us was to always maintain high quality in the face of short time resources.
We used Unreal Engine, to maintain a control in complexity and renderm that allowed us to increase or add
We used unreal engine, to maintain a control in complexity and renderm that allowed us to increase or add complexity without having to waste render time, we built the animation layout where we could determine exposure times for each of the scenarios, then we took highlights of each of these, and polished them at the same time, which gave us step to have more control in the modeling. Because we could continue finalizing the models until the final vfx assembly.
On VFX we only need cryptomontage passes, for alpha channel retouching & color grading, while linear editing and transitions were done in editing. This allowed us to make cuts or additions to the material if necessary.
