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The famous Godswood Tree would also be redesigned with more scale and density. Unlike past iterations, Elastic had to account for both the structure and the area around Winterfell, which needed to be played up to show Walkers in the distance. Once selected, V-Ray Proxies were applied to optimize the rendering, bringing more speed to the elaborate five-month project. Looking for a tactile quality, the team used V-Ray for look development before deciding on glass with a white wood base. The new world now included dozens of layers of wood, making the process of laying out each tile much more involved.
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Adapted to the White Walkers, the path became a series of icy blue tiles that would flip each week on their way to Winterfell.īut since the Westeros map is spherical, the implementation of the tiles proved more challenging than Elastic originally thought. To accomplish this, Elastic developed a concept from season one where land pieces changed as power shifted throughout the kingdom, similar to a Risk board. Weiss and David Benioff wanted to amp up the tension with a weekly reminder of their progress. With the White Walkers on the move, showrunners D.B. V-Ray was essential in making this happen.” We probably did about 3-4x more work in season eight than we did in season one, but we were able to do it in the same amount of time, with a ton more detail. “Interactive rendering with V-Ray IPR is really fast, so we were able to dial things in quickly and just keep tweaking. “Creative is king at Elastic, so we always want to keep pushing and tweaking until we get the best result possible,” said Shintani. All of which were refined with the help of V-Ray Next’s IPR system.
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The new structures also gave Elastic license to do something they’d wanted to do for a long time: add more details. So we worked backwards from our smallest interior element and set exterior scale from that.”īehind the scenes Elastic used V-Ray for Maya to render the animations, which continued to adapt over the course of the season to reflect changes in the narrative. If we were to make the entire Red Keep a foot tall, then the Iron Throne would be the size of a pea. “Asset sizing played a huge role in this.
“We wanted to avoid hiding the transitions in any way and keep the moves seamless, so when you transition from a super wide into a tight interior, it would feel as claustrophobic as possible,” said Shintani.
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What had worked on the exteriors no longer applied, leaving the team questioning how to include the right details at the right scale. Elastic’s old rules around depth of field and camera movement also had to be thrown out. Beginning and end points, unique characteristics and the way rooms flowed together were all up for discussion. Going into the locations posed a new set of questions for the artists, who needed the audience to immediately understand where they were. We had to start from scratch and all of our old ideas came tumbling out.” Once we knew we were going inside the buildings, we suddenly had no choice.
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“There have been so many things we wanted to update and change since season one, but we never had the time. “When we heard that, our brains went into overdrive,” said Kirk Shintani, Art Director and Head of 3D at Elastic. To Elastic, this meant journeying inside some of Westeros’ most famous landmarks, fulfilling a brief that put everything on the table, as long as the visual language and clockwork shots remained intact. With less distance, the show would be even more centered on relationships, giving Elastic a chance to re-shape their iconic credits around the worlds within. But after seven seasons, the story had brought everyone to Westeros, creating a new challenge for artists used to making sense of the sprawl. They are your first clue into where the story is going. Every Game of Thrones fan knows, you don’t skip the credits.
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