![]() As a result, we were able to easily apply them to the FBX content pipeline of Unreal Engine. This allows us to take data generated from all of our work processes and utilize it in our various digital content creation (DCC) tools. The most significant step was to establish a lighting solution immediately, which we did by delivering a massive amount of asset/shot animation data from Maya to Unreal Engine.ĭuring the production of numerous feature-length and TV animations, LOCUS developed an in-house database tool that collects information on everything from modeling to composition. What were the changes in the production pipeline after the introduction of Unreal Engine in the Yumi's Cells project? Child Blueprints were used again, according to different lighting conditions. For lighting, we grouped components including cloud/sky meshes, light, and fog to create a Blueprint actor. We adjusted background assets depending on the circumstances, setting them as Blueprint actors. In addition, each building in the village was generated as a module, and each background was composed as a level within the engine. The desert around Yumi village, in particular, was designed as a single space using these landscapes. We composed our backgrounds using terrain and foliage based on both Unreal Engine's landscapes and static meshes created in Maya. Within the Blueprint, we then added/used the necessary scripts-from simple, dynamic material instance manipulations to complex functions-to interact with background actors. Once our master Blueprint actor was complete, child actors were derived to create each character. Unreal Engine was used in many areas-from the asset look development stage and shot lighting stage to the final rendering-as all of the results were both high quality and fast.įor the characters, components like the Skeletal Mesh, Alembic Cache, and Dikel were grouped as a single-actor class. ![]() Where and how did you use Unreal Engine specifically? We thought Yumi's Cells was a golden opportunity to use Unreal Engine in a bigger production. We had already used Unreal Engine a few years ago for some small internal projects, including a promo video, a VR game prototype, and R&D on our real-time animation pipeline. The production staff shared our ambition to make Yumi's Cells even better, so we decided to use Unreal Engine extensively in this project. Unreal Engine was presented as a new solution to aid production efficiency and innovation, and our studio researched it with the goal of adopting it. LOCUS has continuously researched and introduced new technologies to efficiently produce high-quality content. What was the decision behind using Unreal Engine for the production? Fortunately, we delivered it successfully and the show was a hit with viewers of all ages in 160 countries around the world-including Europe, North America, and Southeast Asia. The most important thing for the animation was to show the unique cells vividly and flawlessly blending with the photorealistic scenes. In this fascinating project, both live actors and the 3D cells in Yumi's head are presented together. The Yumi's Cells TV show is a TVING original series based on a webtoon. Will taking on the challenges which lie ahead bring Yu Mi fulfillment she craves in both life and love? The much-anticipated sequel to the wildly popular 2021 drama, “Yumi’s Cells”, which was adapted from the webtoon “Yumi’s Cells” by Lee Dong Geon, “Yumi’s Cells 2” is a 2022 South Korean romantic comedy drama directed by Lee Sang Yeob.Please tell us about Yumi's Cells and what you did on the project? Inspired by her co-worker, Bobby Yoo (Jinyoung), Yu Mi and her hard-working cells set out to make all of her dreams come true. Now a much wiser and more mature individual, Yu Mi finds herself willing to take on a set of challenges after an unexpected source of inspiration ignites her internal fire. Waking up a number of each other’s cells, Yu Mi and Goo Woong found themselves drawing closer, but even with the revival of their long-dormant love cells, their relationship wasn’t destined to last. After suffering a painful breakup, Yu Mi’s love cells had shut down completely, but a chance meeting with the emotionally stunted game designer, Goo Woong (Ahn Bo Hyun), changed all of that. With her love cells in a comatose state, Kim Yu Mi’s (Kim Go Eun) was a prime example of what happens to a human when her cells suffer a grave injury. Working 24/7, these tireless cells are what allow us to function in our everyday lives, but even when they give it their all, they can sometimes find themselves in a precarious situation. Day in and day out, the cells which make up a human’s body work constantly to keep that body functioning in top top shape.
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