Creative Technology, 2025
Environment Artist, Technical Artist, and Pixera Operator on Honda's Dream Scenes stand, working alongside Maxime Faure for Creative Technology. The stand let the public step into a virtual production booth and get filmed in a car chase scene, shot on a motion-controlled camera rig, with a choice of three environments: a Martian desert, an alien jungle, and a cyberpunk city. The whole project, from previsualisation of the first environment to final delivery on site, was built in five weeks.
Environment Artist, Technical Artist, and Pixera Operator on Honda's Dream Scenes stand, working alongside Maxime Faure for Creative Technology. The stand let the public step into a virtual production booth and get filmed in a car chase scene, shot on a motion-controlled camera rig, with a choice of three environments: a Martian desert, an alien jungle, and a cyberpunk city. The whole project, from previsualisation of the first environment to final delivery on site, was built in five weeks.
I recreated the Goodwood track itself as the road the car drove along in each environment, and animated an nDisplay screen along a curve following that track. The whole sequence was pre-choreographed on the robot arm, then pre-rendered from Unreal Engine to generate both the outer and inner frustum, played back in Pixera and cued to the motion control arm over OSC. The final edit was done live from the recorded footage. one of the real challenges was giving the MoCo arm enough time to reposition itself between cuts.
The bigger technical problem was that movie render Queue couldn't render an inner frustum through nDisplay. I worked around it by rendering the outer and inner frustums separately, exporting the camera, then reprojecting the inner frustum back onto the outer using the nDisplay screen mesh in Blender and a camera projection baked out as an image sequence.
For each environment, I used PCG to build an organic, natural spread of detail around the track, and created VFX and animation for key moments along the way: falling rocks, lightning, creatures chasing the car, arches and tunnels running through each world.
For each environment, I used PCG to build an organic, natural spread of detail around the track, and created VFX and animation for key moments along the way: falling rocks, lightning, creatures chasing the car, arches and tunnels running through each world.
