Star Wars: The Rise of Skywalker

ILM structures and scenic details were shared with the Hybride team to build a library of assets for establishing shots and set extensions-including rooftop views of First Order walkers wading through the city. All of these elements had to be built while keeping in mind that they would be seen from many different views and distances from the camera.

Atmospheric elements and enhancements were simulated in order to add depth to the city that was always seen under the night sky. Chimney smoke, ice and snow effects were used in conjunction with the city lights to help sell the scale of the shots. Hybride artists animated flying ships in the distance to bring movement, then added light flickers, clouds, and colour variations throughout the city. Snow was then added on top of everything using a custom set-up in Houdini.
 

The suit built for the sequence where they deconstruct C-3PO in Babu's workshop didn't have any legs and only had the front half of the head, as the backside and wires needed to be completely recreated in CG. Hybride artists modified C-3PO CG assets to perfectly fit the scan of the suit used in the sequence.

While exploring Ochi's derelict ship, BB-8 stumbled across the deactivated D-O, left alone and covered in dust. BB-8 promptly reactivated the little droid, who expressed his gratitude at being returned to life. Hybride animators articulated the animated BB-8 and D-O characters-reuniting with the beloved BB-8 that they had animated in Star Wars: The Force Awakens where he made his first appearance in the famous franchise back in 2015.

Using the Force

Kijimi set extensions are also featured in a Force Vision sequence when Kylo contacts Rey and engages her in light saber combat - Kylo on Kijimi, and Rey in a First Order sanctuary containing the remains of Darth Vader's helmet. Hybride used light sabers to wipe frames between the contrasting environments. Kijimi is dark, hazy and atmospheric, whereas the sanctuary is pure and white. 

To enhance Kylo's burning tie fighter, the live action model was used as a reference for tracking and layout. Fire and smoke elements were then were added to the actual plate to intensify what was already shot. Interactive light from the added CG fire onto the live action model was crucial in order to make the integration believable. Burn textures were generated in Mari and all of the fire simulations were created in Houdini.