CONSTRUCT is a Sci-Fi short film advancing the art of filmmaking, VFX and virtual production.
This teaser was presented as part of a tech demo at Nvidia's GTC conference March 25, 2014. This is a work in progress intended to illustrate recent advancements in graphics hardware and software capabilities.
Special thanks to Chaos Group, NVIDIA, Boxx, OptiTrack, iTooSoft, Just Cause Entertainment and the AMAZINGLY TALENTED team of artists, actors and stunt performers who've supported this project.
1. Rendered using V-Ray RT GPU 3.0 for 3ds Max
2. Rendered with NVIDIA K6000s and K40s on 3DBOXX 4920 GPU Edition
3. Typical video RAM usage 6-7GB
4. Typical render time 5-10 minutes (DOF and motion blur are all rendered in camera)
Every day, between two and three thousand aircraft fly across the North Atlantic between Canada, the United States and Europe. Airspace across the North Atlantic is divided into six Oceanic Control Areas (or OCAs). These OCAs are controlled by Air Navigation Service Providers (ANSPs) working at different locations in different Countries.
NATS, working with the IAA (Irish Aviation Authority), is responsible for providing the air traffic control service to the Shanwick OCA. The IAA service is provided from Shannon in Ireland, and the NATS service provided from Prestwick in Scotland (hence ‘Shanwick’).
The Shanwick OCA is the busiest of all North Atlantic Airspace regions. It is often referred to as ‘the gateway to Europe’ and around 80% of all North Atlantic Air Traffic passes through it, demonstrating the strategic importance of our Prestwick Centre and UK airspace.
This visualization shows Transatlantic traffic over a 24 hour period taken from a day in August last year and shows 2,524 flights crossing the North Atlantic, of which 1,273 pass through the Shanwick OCA. At our busiest periods in the Summer, traffic can peak at 1,500 flights a day passing through the Shanwick OCA.
The visuals of both the desolate Antarctic and the ever-morphing alien creatures in THE THING were envisioned long before the movie was shot. Extensive storyboards were drawn by artist Michael Ploog so that all the departments of the production were on the same page in their preparation for the shoot. This is nothing new…but the similarity between the storyboards and the final imagery shot by legendary DP Dean Cundey is staggering. Storyboards are often only a guide, but in this film they were so specifically rendered that they became gospel. The detail and artistry of Ploog’s work up front, allowed the crew to have clear and defined goals on those frigid shooting days in both Alaska and Canada.