As a seasoned movie buff with a penchant for behind-the-scenes magic, I must say that the collaboration between “The Penguin” and the developers of “Gotham Knights” is nothing short of genius. It’s not every day you see such a seamless blend of cinematic storytelling and video game technology, creating a Gotham City so gritty and real it feels like I could step right into it!
The video game “Gotham Knights” surprisingly influenced the creation of Gotham City in HBO’s “The Penguin.
Pixomondo, a visual effects studio owned by Sony, was responsible for designing the environmental layout of Gotham City’s universe. This included creating the city skylines seen in Gotham, depicting the damage caused by the flood from “The Batman,” and portraying streets and buildings in various stages of deterioration. The subway scenes were filled with trash and debris, contributing to the gritty feel of the show.
In this TV show, Colin Farrell returns as character Oswald “Oz” Cobb, a gangster from Gotham City, who was previously seen in “The Batman”. The story unfolds following the events of “The Batman”, with Oz aiming to take over the criminal underworld of Gotham, given the power gap caused by the demise of his previous boss, Carmine Falcone.
Working alongside the creators behind the acclaimed video game “Gotham Knights” enabled us to breathe life into their imaginative concept.
Pixomondo’s CEO Jonny Slow and VFX Supervisor Nathaniel Larouche had a clear vision for how they wanted to portray Gotham City. As Slow put it, “We aimed to craft a unique version of this city that is somewhat recognizable yet offers a fresh perspective, as we wanted viewers to identify with the penguin character by setting the scene in a world where he belongs.
Larouche clarifies that during the development process, they were given direct access to the original files used in video games, which significantly aided them in creating their proof of concept. In simpler terms, he mentions that they had two meetings with the game creators who joined their own meeting call, an unusual occurrence.
By collaborating, the Pixomondo team can draw inspiration from the intricate universe of “Gotham Knight” and seamlessly incorporate it into their visual effects process to ultimately produce a unique representation of Gotham City.
As a passionate cinephile, I must say that leveraging the pre-existing video game aspects of Unreal Engine was a game-changer for our team during production. This collaboration between the visual effects (VFX) and gaming industries was an exciting new frontier we hadn’t ventured into before. It was a no-brainer, really – a straightforward way to save both time and resources by utilizing elements that already exist in the world.
In Episode 6, Oz’s hidden criminal organization is fully operational, producing a new drug called Bliss beneath the streets of Crown Point. As winter sets in and snow blankets the city, there’s no electricity in Oz’s apartment or anywhere else in town, even the generator fails to function.
Slower reiterated the concept behind the video game’s visuals, using Crown Point as a comparison. “We asked ourselves, ‘Can we incorporate this real-world item into our work in some way?’ It’s a great demonstration of finding inspiration in things that are already around us.
As a passionate film enthusiast, I found myself captivated by the mesmerizing streetscapes, submerged sections, and crumbling edifices that Pixomondo so skillfully crafted. These stunning visuals were born out of thoughtful discussions with the production team about their creative visions, while also drawing inspiration from the game’s iconic landmarks as touchstones for authenticity.
Following Larouche’s account, after ensuring the system functioned properly, they carried out tests by capturing footage of vehicles driving on various streets. Subsequently, these synthetic driving sequences were utilized in an LED space we had at our disposal, and some trial shots were filmed for Johnny Han, our client-side supervisor. The initial test was a success, leading to the scheduling of another meeting to discuss several odd anomalies. For instance, atmospheric effects seemed distinct through each camera, making it challenging to create a unified, consistent shot.
After resolving the kinks in their workflow process, the renderings were passed on to the production crew.
Working hand in hand with both the art department and production design was indispensable for us. These dialogues were vital for them to execute their tasks flawlessly. As we aim to create a seamless fusion of the physical and virtual worlds, it’s crucial to remember that what you see isn’t real anymore; instead, it’s an LED screen. The collaboration with the art department and production design is necessary to ensure a smooth transition, as any discrepancies would be evident, necessitating post-production adjustments.
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2024-11-15 00:47