It looks like an endless sea of water, with bits of ruins and a single tree in the middle. Room Of Illusions – This is one of the coolest rooms in the whole game. Be sure to grab the goodies in the jars, a mini-boss is up ahead. Hookshot the target on the ceiling to appear on the other side. You can do so with a Spin Attack or Bombs. Kill the two Blue Tektites up here, then kill the Like Like across the spikes. Hookshot to the target on the left side of the next platform. Hookshot to the next platform (clockwise). As soon as you round the “S” shaped corridor you’ll witness a cut scene with, *gasp*, the adult Princess Ruto! She’s all grown up! In the 3DS version of the game, this will be highlighted by some green lines. Use your Hookshot to kill them and then enter the east passage entrance between the torches. Along the way, you’ll likely have an encounter with the enemy Spikes. We want to head through the opening on the bottom floor to the right, just between the two torches. Jump into the water and sink to the very bottom using your Iron Boots. We will be returning to this room very often and I will refer to it as the main room. Lowest Level – East (Ruto Room) – Once you enter the dungeon, walk forward and you’ll find yourself in the large central chamber. New in this section Enemies: Spike, Shell Blade, Dark Link, Morpha Gold Skulltulas: #72, #73, #74, #75, #76 Items: Dungeon Map, Compass, Longshot, Boss Key, Heart Container, Water Medallion Locations: Water Temple The place where we had a lot of Houdini time was in the final battle with the electricity.10.2 Water Temple Progress at this point Total Life There was only a little bit of simulation work for direct contact bubbles. For Rian falling into the water, we were able to do most of it with 2D elements such as bubbles and splashes that DNEG had in their library. “Every single part of the frame was moving so it would take days to render out a shot for our CG portion of the forest.” Noise patterns were created to simulate water for the wide shot of Rian jumping out of the castle. The art department would come in and on top of that they would find these amazing vines that were a ribbon that had fibres coming off of it which blew in the wind nicely.” That meant that the forest was real leaves, moss, grass, and vines. “In the original movie everything moves to create the feeling that the entire world is alive. “For the extension of the Endless Forest every leaf is a unique asset with some of them have to be dropping off and trees are blowing in the wind,” reveals Mathiesen. Skies were mostly sky domes and matte paintings while heavy simulations were needed for the Endless Forest. In postvis, we were able to stitch together this story and put it in front of Louis that process went on for many months.” We got to do postvis and were able to figure out that camera at that angle told the right story of the carriage up on a ridge about to dive down into a channel in-between some rocks in the forest. We stitched together a 360-degree environment that could be sorted out in post. We made a poor man’s version of an array rig by getting the camera operator to run down the forest with the camera pointing forward, and panning over 30 degrees and running down again. “We had to get an underslung Steadicam three inches off of the ground at 10 miles per hour running down these tiny footpaths in the middle of the woods. We couldn’t get an array camera because of being in such a small place as well as the camera height and freedom of the movement of the camera relative to the real-world carriage.” “I divided the location into five or six different zones. “I made a cardboard cut-out of the carriage that was 10-percent of the real-world size, took photos and showed them to Louis he gave us the broad strokes of things that would work for him,” states Mathiesen. Puzzlewood, situated on the border of England and Wales, serves as the background for the carriage chase.
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