‘The Matrix: Resurrections’ cobra vida con Cinema 4D, Redshift y Red Giant de Maxon

4D Cinema, Redshift and Red Giant, solutions of Maxon, have allowed the creative team of Studio C shape the world The Matrix: Resurrections, the revival of the acclaimed saga of the Wachowski sisters.

Taking place 60 years after the events of the third installment of the franchise (The Matrix Revolutions), Resurrections gave the opportunity to Studio C to address a important challenge: maintain cohesion with the iconic look from the original trilogy while communicating visually how technology had advanced. As detailed Gordon Spurs, its creative director: “It was a pleasure to be able to play with the central elements of the time of the first film, such as texture backgrounds in an operating system (circuit boards, etc.), voluminous gradients or classic science fonts fiction synonymous with The Matrix, but all of this also presented a challenge.”

Studio C relied on Cinema 4D, Redshift y Red Giant Trapcode y Particular to create more than 100 screen graphics in more than 20 sets. Among them, the designs and the user interface of the hovercraft Mnemosyne that appears in Resurrections. Studio C used Cinema 4D y Redshift to create realistic schematic renders, medical scans of organs and vitals in 3D, and 3D maps inside and out of Matrix, among other elements.

In addition to the creative challenges it posed The Matrix: Resurrections, had to take into account the technical difficulties associated with a workflow with lots of visual effects. Holograms in a visual effects workflow are notoriously difficult to manage due to the size of the assets, meaning they often require a strong optimization. Con Redshift, “GPU rendering handles the polygon count of most models really efficiently,” says Spurs.

“Redshift's custom AOV export options are great for building schematic R&D passes quickly, so looks can be creatively combined in the composition, without being pulled into heavier beauty rendering. This is the true power of working with Redshift in film,” he adds.

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