Look development for Inside the Human Body was a complex process with each sequence needing its own identity.

 

Hayden explains, “During the creation of the embryo sequence I would use Zbrush to sculpt a version of the character and send it over to David Barker, researcher, on the production team who would then send it onto relevant experts in the field to check the science.  This would then be fed back and the model altered accordingly until we were sure that the CGI was as accurate as possible”.

 

With a large variety of characters, looks and environments Rushes utilized it’s Film&TV pipeline to make sure they could keep the highest possible visual quality whilst rendering minutes of HD content.

 

Autodesk’s Maya was the backbone of the pipeline, with Zbrush integrated for organic modeling and texturing. The sequences were rendered using Pixar’s Academy award winning Renderman, allowing the artists to create feature film quality, multi pass and high dynamic range renders. Mark Pascoe, Rushes Lead Technical Artist used Renderman’s point based subsurface scatter algorithms to create realistically organic materials and looks. He also harnessed the power of Renderman’s delayed archives, a system that allows extreme amounts of geometric detail to be computed.

 

The renders were composited in Nuke, Hayden Jones continues, “With Nuke’s speed and fully floating point workflow it allowed us great flexibility in the composite to experiment with the look of the rendered CGI. With multiple passes for each layer of rendered footage we could fine tune every element in the composite to get the required look.”

 

Louise Hussey, VFX Producer at Rushes, goes on to say, “We are incredibly proud of the standard of the VFX that we have produced – some of the images are breathtaking and unlike anything you will have seen before”