Whether it’s intentional or not, I’ll take it. So pixels are pixels, but they’re also blocks and that was an interesting kind of duality to the design. Tetris is of course made of blocks, and I wanted to retain that. ![]() And you need it to be a perfect square because if it’s all fuzzy, or spherical, or you have any aliasing on it, then it’s broken. You want the crispness of a 4K render, but each artwork pixel is actually maybe 10 pixels. We could have buildings and backgrounds and mountains and clouds and everything, but it would also work for texts or characters.ī&a: How did you deal with the pixel size challenge, given this was appearing on full-scale scenes in the cinema and in basically a 4K film frame?ĭanny Boyle: Yes, well, we have all this technology–it makes things look beautiful and at a billion pixels wide–but we really wanted something that wasn’t that we wanted the opposite of that but still had that fidelity. It was roughly the right amount of pixels that would allow us to have enough fidelity for full screen external scene establishers. But it also had to match the ratio of a wide screen cinematic film. We settled on a fake pixel ratio which matched the fidelity of those late ’80s, early ’90s computers. Dithering is using a dot pattern to create texture, so you can use two colors to create gradients, for instance, and it gives you a lot more fidelity, while using a stripped down palette. Dithering was a whole bit of research that we did. ![]() There’s actually pixel art specific tools–design tools–which we used to find our way. That’s a whole subgenre of art that’s still going. There’s also a massive pixel art scene that we looked to. You’ve got that visual stuff, colors, design and animation, but also because it’s a game, you’ve got all the media that it was played on, all the technology it was played on, which also defines the look of it, from those really early PCs to Game Boys, arcades and full 4K screens now. We then had decades worth of graphic material for this one simple game to review. Tetris when it first started, was more like an ASCII code thing, with just square brackets. ![]() We created a detailed digital portfolio and populated it with our categorised research, which consisted of visuals and animation tests. B&a: Because it was that 8-Bit look, what sort of research did you and your team do to get into that look and feel?ĭanny Boyle: VFX supervisors Jody Johnson and Marty Waters had already done some in-house research, early tests and look exploration, which we absorbed and expanded upon.
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