DNEG Creative

Filmmaker-Focused Creative Services

DNEG Creative

DNEG Creative brings together our Virtual Production, Motion Graphics, Art Department and Previsualisation services in a ‘filmmaker-focused’ offering that gives content creators the freedom to explore, develop and realise their vision in a highly collaborative and creative setting.

Some of our greatest successes have seen us collaborate with filmmakers from the earliest stages of production, helping to develop cutting-edge visual storytelling and guide projects from concept through to delivery. 

Our years of industry experience and deep understanding of the filmmaking process mean that all DNEG Creative services are fully integrated with our award-winning VFX and animation pipelines.

For more information on DNEG Creative services, please contact:

Marianne Speight (London): mksp@dneg.com

Lee Berger (Los Angeles): lee@dneg.com

Andy Williams (Los Angeles): awi@dneg.com

 

 

 

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Virtual Production

Real-time computer graphic technologies are now a viable option on live film sets, and Virtual Production is becoming an increasingly important part of the VFX pipeline.

Virtual Production at DNEG 

Artificial backdrops have been used in movie-making since its very beginnings to create the illusion of large sets or locations. In recent years, DNEG has used digital front projection and large LED video walls displaying pre-rendered content to take this technique into the 21st Century, in its Oscar-winning work on films such as Christopher Nolan’s ‘Interstellar’ and Damien Chazelle’s ‘First Man’.

Today’s Virtual Production processes leverage advances in computing power, VFX expertise and game-engine technology to:

 

– create environments that now interact with the live-action, allowing filmmakers to make real-time decisions and changes

– create backgrounds which move in full perspective with respect to the camera’s position, updating in real-time as the camera moves

– allow the production to move from one convincingly detailed and photo-real environment to another without leaving the stage

– allow final shots to be captured in camera, without the need to replace the backgrounds in post-production

 

In effect, locations from all over the world can be brought to the stage with compelling photo-realism.

Our approach is to utilise cutting-edge technology in pursuit of our clients’ storytelling goals, and our tools are designed to feel familiar to the directors and DOPs that we collaborate with.

Our Virtual Production offer covers the full range of services, including:

 

Virtual location scouting – capture, create and explore virtual locations for use in the Virtual Production process

Virtual camera – blocking and framing decisions can be explored in virtual locations using VR headsets and virtual cameras

Real-time mixed reality VFX – allowing in-camera set extensions and live compositing of animated and motion capture controlled characters into virtual locations

LED volumetric stages – fully immerse actors in virtual sets with real-time in-camera VFX and environments created with state-of-the-art LED volumetric stages

 

We have been working at the cutting-edge of technology and artistry for over 20 years, with five Academy Awards for ‘Best VFX’ in the last 10 years. Our work providing Virtual Production services for projects such as Denis Villeneuve’s upcoming ‘DUNE’, Kenneth Branagh’s ‘DEATH ON THE NILE’ and Andy Serkis’ ‘VENOM: LET THERE BE CARNAGE’ has positioned us at the forefront of this new technology, which is helping content creators to restart physical production in a responsible and socially-distanced way.

All of DNEG’s Virtual Production services complement and integrate with our other services, and are designed to fit within our clients’ workflows and processes.

 

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DNEG teamed up with Dimension Studio, Unreal Engine, ARRI, Mo-Sys, 80six, ROE, Brompton Technologies and Malcolm Ryan to shoot a proof-of-concept Virtual Production test using a state-of-the-art LED stage set-up and real-time game engine technology.

Directed by DNEG Creative Director Paul Franklin, the test demonstrates how our clients can take advantage of our Virtual Production services to enjoy the best of both worlds – the flexibility of a visual effects process and the immediate realism of actual photography.

Find out more about the test here, and watch a behind the scenes video from the test shoot, as well as some of the final test footage below.

Go behind the scenes of the LED volume Virtual Production Test

Gunslinger: LED volume Virtual Production Test

Motion Graphics

Design and create stunning graphical sequences, UI GFX, title sequences and much more with our specialist team of Motion Graphic designers. 

Motion Graphics at DNEG

DNEG’s in-house Motion Graphics (MGFX) team is composed of specialist designers, artists and supervisors, providing MGFX services across all of DNEG’s divisions.

The team draws on a wealth of film and broadcast experience and uses a multi-disciplinary approach to deliver a wide range of projects. Most recently, our artists have delivered everything from UI screen graphics to complex 3D holographic environments for shows such as ‘Fast and Furious Presents: Hobbs & Shaw’, ‘Altered Carbon’ (Seasons 1 & 2), ‘Deadpool 2’, ‘Black Mirror’ (Season 5), ‘The Feed’ and many more.

Our creative offering includes:

– design and creation of UI GFX for feature films and high-end TV projects

– front and main-on-end title sequence design and production

– graphical inserts for longform projects

– delivery and supervision of digital assets for live on-set playback

– large animated sequences for live shows, exhibitions and rides

 

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Our MGFX team is headed up by Barry Corcoran. Barry has over 13 years of experience in Film, TV and Advertising as a Motion Graphics Supervisor and Creative Director. Notable shows that have employed his talents as a designer include ‘Spectre’, ‘Pacific Rim Uprising’ and ‘Venom’, to name but a few. His extensive portfolio includes everything from complex graphical sequences for feature films to title sequences, UI design, music promos, commercials and episodic content.

 

Our great successes have come when we partner with the filmmaker early and develop a collaborative relationship that allows the visual effects process to help shape the development of the film.

Art Department

Our Art Department team works with filmmakers to bring their stories to life. 

Art Department at DNEG 

Our Art Department team’s starting point is to develop a deep understanding of the filmmaker’s creative vision. From there, we develop the characters, creatures, environments, props and vehicles that combine to create the world that the story inhabits.

Characters

Our design and development work helps filmmakers explore the look of their characters in pre-production – from developing the look of the characters themselves to visualising ideas for costumes, hair, make-up and effects.

Creatures

From ogres, aliens and nightmarish bears to woodland creatures and cuddly rabbits, our Art Department team will bring your ideas to life, creating creatures that live on in the memory of your audiences for years to come.

 

 

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Environments

The environments in which the story is set, along with colour choices and lighting decisions, all help to establish mood and tone. Our artists are on hand to help create environments that become another character in your story.

Vehicles and props

From industrial design to flights of fancy; from futuristic spaceships to fantasy chariots; from blasters to long-swords – our designers and artists will visualise the vehicles and props that come together to create convincing detail to flesh out the world you are creating.

 

 

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Our talented Art Department team is headed up by Global Head of Art Ravi Bansal. A world-renowned Art Director, Ravi’s work has helped define the look of recent movies such as ‘The Lion King’ (2019), ‘Aladdin’ (2019), ‘Godzilla: King of the Monsters’, ‘Pokémon Detective Pikachu’ and ‘Wonder Woman’.

Visualisation

Our Visualisation team offers directors and producers the opportunity to turn their cinematic vision into reality long before principal photography begins.

Visualisation at DNEG 

Previs

We collaborate closely with filmmakers to construct sequences from their scripts to better understand how they want to tell the story. These sequences also serve as a visual guide and can help other departments in the production process prepare for and better understand the upcoming requirements.

Techvis

Once Previs is complete it can be converted into exact data to aid not only the visual effects team, but also the production designer, director of photography, stunt choreographer and director.

Postvis

After the shoot, sequences can be combined with Previs to recapture and implement the director’s vision. These composites are cut into the edit not only for storytelling purposes, but also as a guide to be passed down the pipeline for efficient implementation of final visual effects.

 

 

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The Visualisation team at DNEG is headed up by noted Previsualisation Supervisor Alex Cannon. Alex has supervised the previsualisation of sequences for some of Hollywood’s biggest movies; recent work includes conjuring horrifying visuals for ‘The New Mutants’; visualising the death-defying car stunts of ‘Hobbs and Shaw’; choreographing the adventures of Jack Sparrow for ‘Pirates of the Caribbean: Dead Men Tell No Tales’; and helping create hilarious and memorable moments for ‘Deadpool 2’.

 

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