come, kiara. i'll tell you a story. a story of destiny that - would change our lives forever.ufasa: the lion king. you are filming a movie, in that virtual environment. the director having a monitor so he could see what was.--” you had an empty volume, so it was him going around and finding his angles. we developed a system called quadcap, and react with each other. but on your screen, it would be the animals. we're trapped! we have to swim. no, we have to fight. if we fight, we die. from this material. that was the technical challenges. but there was also the creative challenges with barryjenkins and his dop, james laxton. it moves a lot. so we needed to make sure that those assets, to a wide view, to come to a very close angle just on the lion, the numbers are just incredible. coming out of the farm. mufasa, it is your time. time for a look news. deepseek has spooked markets says it is and donald trump says it is a wake—up call. deepseek seem to on two queries with rest on two queries with advanced reasoning skills like chatgpt. its creators claim it significantly less to ma

come, kiara. i'll tell you a story. a story of destiny that - would change our lives forever.he vfx supervisor for mpc on mufasa: the lion king. you are filming a movie, but instead of going outside environment. we built all the environments in unreal, and then we had the animators animating the characters in those see what was happening in the scene, but, in reality, you had an empty volume, so it was him going around and finding his angles. of the animal so the actor could move around and react with each other. but on your screen, it would be the animals. so that was a little bit of revolution on this movie — being able to freely direct those virtual characters live. back to the trees. no, we have to fight. some of the biggest challenges of mufasa was technical, continent of africa, so we had to go and shoot those able to start building them from this material. canyon, mountains, rivers. trees, rocks that we would set—dress everywhere in order to add a layer of complexity on those sets. but there was also the creative challenges with barryjenkins and his dop, james laxton. i

come, kiara. i'll tell you a story. a story of destiny that - would change our lives forever.was the vfx supervisor for mpc on mufasa: the lion king. you are filming a movie, but instead of going outside and filming it, you are goggling up in virtual reality and you are strolling the savanna in that virtual environment. environments — the director having a monitor so he could see what was happening in the scene, but, in reality, you had an empty volume, so it was him going around and finding his angles. so that was a little bit of revolution on this movie — being able to freely direct those virtual characters live. back to the trees. we're trapped! no, we have to fight. and for this movie, we are visiting the entire mountains, rivers. we had hundreds of greens, we call them, which is plants, trees, rocks that we would set—dress everywhere in order to add a layer of complexity on those sets. and his dop, james laxton. their camera is very dynamic. it moves a lot. it goes extremely close to those characters, animals, would hold close—ups, extreme close—ups — and those shots are

come, kiara. i'll tell you a story.e environments in unreal, and then we had the animators animating the characters in those environments — the director having a monitor so he could and finding his angles. we developed a system called quadcap, where the human would have his legs be the front legs of the animal, and we would simulate the animation of the rear end of the animal so the actor could move around and react with each other. but on your screen, it would be the animals. so that was a little bit of revolution on this movie — being able to freely direct those virtual characters live. back to the trees. we're trapped! we have to swim. no, we have to fight. if we fight, we die. of all, but also artistic. the environments, for example, are so vast and big, and for this movie, we are visiting the entire places to have references, bring them back, and then be able to start building them from this material. we had 77 sets, different sets, like savanna, canyon, mountains, rivers. trees, rocks that we would set—dress every