2We brought on the amazing team from The Model Unit at Ealing Studios, in London. Mike Tucker and his team built the orbiter ship, the lander probe, the rover, the cube and the Mars landscapes. I began by creating CG geometry versions of those objects and then sent the Maya files to Mike and his team to work from, both as reference and for 3D printing components. The amount of craftsmanship, attention to detail and passion that went into building those objects was so inspiring and helped the shots look real.
During our second unit shoot, the Model Unit team added more textures to the spacecraft as Adam Sculthorp and his team lit the scenes against a black backdrop. We wanted to emulate the lighting of NASA footage. Adam mounted lights to a motion control arm and moved those to create the sense that the spaceship was moving as shadows slid across the surface. We later added stars to create depth, as well as the planet Mars and effects of rocket boosters igniting.
CINEFEX: How did you create your Martian surface scenes?
HAZ: Mars was a hybrid of landscape model work created by the Model Unit, taken further in VFX using digital set extensions. For most of our rover shots, we used Model Unit’s practical rover, built and operated via remote control, filmed on the real landscape. We extended into the distance stuff. We used a CG rover for the aerial shots and wide vistas of it entering the dust storm. During second unit, we also shot elements of dirt, smoke and atmosphere at various speeds on black for use later in compositing. We used imagery from NASA’s Curiosity rover to help with the digital set extensions.
These extracts are taken from the Cinefex Blog post, which you can read in full here: 2036 Origin Unknown | VFX Q&A | Cinefex Blog