Designer's Insights on Crafting a Sci-Fi Universe for "3 Body Problem"
The mind-bending sci-fi mystery of Netflix's 3 Bodies Problem left viewers stunned with its innovative plotlines, intriguing characters, and jaw-dropping visuals. Ever wondered how they pulled off the nail-biting Panama Canal scene, where a ship was cut into ribbons, or the gravity-defying sequences from the VR world? Here's a sneak peek at the magic behind the mayhem.
Behold the exclusive VFX reel by Netflix-owned Scanline VFX, taking you through the Panama Canal carnage as well as two thrilling moments from the VR world: the chilling dehydration/rehydration scene of the "Follower," haunted by the choices made in the game, and the otherworldly gravity-loss sequence where everyone is floating into the sky. Click play here!
Our IO9 team got a chance to chat over email with VFX supervisor extraordinaire, Boris Schmidt, one of two VFX supremos at Scanline, who worked tirelessly on this project. Along with Mathew Giampa, they reported to overall VFX boss, Stefen Fangmeier, as well as VFX producer, Steve Kullback-all veterans from Scanline's collaboration on Game of Thrones.
Cheryl Eddy, IO9: In a project like 3 Bodies Problem, how much is pulled from the script, and how much is up to artistic interpretation?
Boris Schmidt: On a project like 3 Bodies Problem, the script plays a significant role, ensuring the narrative's core elements remain intact. However, there's ample room for artistic interpretation, particularly in areas of visual storytelling and special effects that are complex and out of the ordinary.
For example, designing the varied massive landscapes, like the mind-bending time-lapse sequence, relied heavily on art direction and creative vision. These sequences allowed for artistic leeway in the visual effects, with the flexibility to capture the otherworldly qualities of the landscapes while maintaining VFX.
Likewise, the effects surrounding the rehydration process and the tragic plight of the frozen "Follower" were subject to creative autonomy. These visual elements needed to evoke emotion, awe, and terror, while adhering to the broader narrative and editorial context. The art direction in these instances required a delicate balance of technical skill and creative imagination, allowing the effects to complement and amplify the storyline without overwhelming it.
IO9: What was your starting point when designing the VR game world?
Schmidt: When designing the VR game world, I started by understanding the client's vision and the project's core concepts. The plan of attack involved several sequential steps:
- Collaboration with the client: Talking to the client VFX supervisor Stefen Fangmeier about his expectations, storyline, gameplay mechanics, and aesthetic vision paved the foundation for the entire design process.
- Gathering concept art and references: Collecting and reviewing any concept art, storyboards, or previs edits provided by the client helped me understand the desired visual style, environment layout, and overall tone. I also sourced additional references from the internet, focusing on elements like architecture, landscapes, textures, and color palettes to broaden the scope of creativity. In some instances, generative AI was utilized to gather further inspiration.
- Analyzing provided Unreal Game-Engine previs files: Meticulously examining existing game-engine files created for the previs, provided by the client, aided in gaining insights into scene layout and camera angles.
- Brainstorming and planning: After compiling the necessary references and information, I engaged in brainstorming sessions with department supervisors and leads. This included sketching initial concepts, outlining the game world layout, and ruminating on creative approaches to design the virtual environments.
- Building the virtual environment: Once we had a solid plan, we started building the virtual environments, creating 3D models, texturing, lighting, complex FX setups, crowds, etc. Throughout the process, we continuously refined the design through meetings and client feedback.
IO9: The VR game world showcases massive landscapes and bustling crowds, but also intimate moments, like the "dehydrating" and "rehydrating" sequence. How did you approach these effects?
Schmidt: Crafting these intricate effects required substantial research and development. Following a series of deliberations, we opted for a custom approach:
We built an internal skeleton structure for the main character, functioning as a collider for the outer skin mesh. This structure, along with the skin, was managed by the same animation rig. We used Houdini's Vellum cloth simulation to flatten the skin and bones, subsequently rolling them up with another rig and cloth simulation. Coordinating the timing of these simulations was achieved through 3D gradients and noises, ensuring precision in artistic direction.
The bones and skin were inflated by a set of 3D gradients, enabling adjustments for both separately. These gradients were crucial in dictating the transition between three different surface shaders: one that made the skin look dry and leathery, another that provided a translucent effect, and a final shader for human skin. The shader transitions were based on surface curvature and simulation attributes. To add additional nuances, we used stress maps that revealed where the character's skin was stretched or compressed, resulting in added textures and detail.
The hair was separately simulated, guided by splines created in Houdini and later transferred to Maya. To conserve render times, we rendered all shader variations and transitions separately, allowing full control in compositing. This came at the cost of extensive render times, as evidenced by the outstanding translucent look where you can still see the internal skeleton.
Finally, we fine-tuned the results by employing shot modeling on top of the Alembic caches, removing any unwanted artifacts. FX provided additional aeration simulations and air bubbles emitted from the character, while compositing was used to refine the overall look.
Up next: The VR world experiences a loss of gravity, a terrifying yet graceful experience. Check out our enrichment data for a deeper dive into how this unique scene was created!
Stay tuned to IO9 for more interviews and exclusive information on your favorite series and movies! 🚀🚀🚀
- The dehydration/rehydration sequence in the VR world was subject to creative autonomy, requiring a delicate balance of technical skill and creative imagination to evoke emotion, awe, and terror.
- The starting point for designing the VR game world was understanding the client's vision, the project's core concepts, and the desired visual style, environment layout, and overall tone.
- The effects surrounding the rehydration process were built using Houdini's Vellum cloth simulation, with 3D gradients controlling the transition between different surface shaders.
- The mind-bending time-lapse sequence, as well as otherworldly landscapes in the show, heavily relied on art direction and creative vision, allowing for artistic leeway in visual effects.
