Images courtesy of Warner Bros. Pictures.
Crafting a Virtual World
In a departure from the realm of photorealistic graphics, A Minecraft Movie embraces the distinctive aesthetic of 3D voxel art, a hallmark of the beloved video game created by Markus Persson. This adaptation, directed by Jared Hess, showcases a unique collaboration with Disguise, led by Production VFX Supervisor Dan Lemmon, to bring the vibrant environments to life for a star-studded cast that includes Jason Momoa, Jack Black, Sebastian Hansen, Emma Myers, and Danielle Brooks.
Talia Finlayson, a Creative Technologist at Disguise, reflects on her transition from technical roles to a more creative position as the Senior Unreal Artist within the Virtual Art Department (VAD). “The VAD was integrated into every stage of production,” she explains. “We collaborated closely with the production designer, director, VFX supervisor, and director of photography, creating a hub of creativity rather than working in isolation.” This collaborative spirit allowed for innovative approaches, such as the use of Simulcam, which enabled the team to live-composite an entire Minecraft world in real-time, transforming a set adorned only with blue curtains into a vibrant digital landscape.
The journey began with set designs crafted in Rhinoceros 3D, which were then transformed into interactive 3D environments using Unreal Engine. “These scenes were not mere visualizations,” Finlayson emphasizes. “They served as interactive tools throughout the production pipeline.” The team meticulously ingested 3D models and concept art, optimizing geometry with software like Blender, Cinema 4D, or Maya, before building expansive worlds in Unreal Engine. This process involved applying materials, lighting, and extending environments, allowing the director to explore shot compositions and camera movements within a virtual space.
Designing with Purpose
Creating virtual environments requires a careful balance of creativity and practicality. “You must consider how actors and cameras will navigate the space, ensuring safety and feasibility on set,” Bell notes. “While strict accuracy is essential in certain areas, the environments should harmonize with the original designs and enhance the narrative, guiding the audience’s focus and establishing the appropriate tone.” Elements such as composition, lighting, and intricate details contribute to a rich storytelling experience.
The team was fortunate to receive concept art and 3D models from talented artists, which served as invaluable references during the development of virtual environments. “These assets provided a clear sense of composition and design intent,” Finlayson shares. “Storyboards were also crucial, evolving alongside the project and allowing us to align virtual environments with camera angles and narrative beats.” In some instances, assets from the game itself were utilized to expedite the creation of expansive landscapes, particularly for sequences like the Elytra Flight Chase through a vast canyon.
Adapting to Change
Flexibility emerged as a cornerstone of the project. “We needed our Unreal levels to be adaptable for rapid iteration,” Finlayson explains. “With constant reviews from the director and other key figures, we had to respond swiftly to feedback, sometimes in real-time.” This necessitated a modular and organized approach to scene construction, enabling quick adjustments without disrupting the workflow. Bell highlights the importance of adapting to production schedules, noting that each project presents its own unique challenges and workflows.
Throughout principal photography, the design and composition of virtual environments remained largely consistent, with a few notable adjustments. “One significant change was the removal of a second story from a building in Midport Village to facilitate a clear camera shot,” Finlayson recalls. “Midport Village underwent numerous iterations, particularly with the archway serving as a visual anchor across different levels.” Bell concurs, recalling the meticulous rebuilding of stairs to accommodate storyboarded sequences involving character chases.
Complexity in Virtual Landscapes
The final battle and various forest scenes presented intricate challenges, particularly in repurposing physical set pieces for multiple locations within the narrative. “We had to carefully adjust the virtual environments to reflect these changes,” Finlayson explains. “The forest scenes were particularly complex, especially when filming schedules shifted unexpectedly.” Fortunately, the team’s workflow allowed for quick adjustments, ensuring seamless integration of virtual environments into live-action shots.
Attention to detail was paramount in the central sets where pivotal action unfolded. “We collaborated closely with the prop department to ensure accurate placement and alignment with physical builds,” Finlayson states. “As we moved outward from the practical set, the focus shifted to blocking and spatial context, ensuring alignment with the overall visual direction.” The use of stand-ins and creatures provided valuable context during early planning stages, enhancing the understanding of how elements would interact within scenes.
Bridging Worlds
Practical considerations, such as camera movements and stunt choreography, influenced the design of virtual environments. “We often adjusted layouts to facilitate tracking shots or accommodate key action sequences while maintaining cohesion with the Minecraft world,” Bell explains. Simulcam played a crucial role in merging the physical and virtual realms, allowing for real-time overlays of Unreal Engine environments onto live-action footage, thus enabling informed decision-making during production.
Finlayson reflects on the challenges of managing constant iteration while maintaining organized and easily updatable environments. “The regular reviews meant our environments had to be flexible,” she notes. “However, this project was an incredible experience, and I am grateful for the collaborative spirit of the VAD team.” Bell adds that the integration of a VAD into film production is still a relatively new concept, but the overwhelmingly positive response from other departments highlighted the excitement surrounding the project. “People were thrilled to see the virtual environments come to life, transforming a simple blue curtain into a vibrant Minecraft world,” she concludes.
