![]() ![]() What we could do was to make a trailer with a specific Unreal Engine shot of The Seed of Juna. I couldn't do the entire The Seed of Juna in real-time because we had already got 80% of the production. At some point, he told me: "Hey, have you thought about the idea of doing The Seed of Juna in real-time?" At that moment, that was a crazy idea, but I have this kind of thing that when someone tells me something, even if I say no, it's bugging me. That's how you put the balance there.Ĩ0.lv: Why did you choose Unreal as the main tool? What makes it a perfect match? What other tools do you use at your studio?Īlvaro Garcia Martinez: When I was working on Ready Player One, one of my friends, Ruben, knew that I was doing The Seed of Juna with offline renders like Arnold in Maya. If you want to survive as an artist, don't specialize in anything at all. If you want to enter the industry, be specialized in something. Don't be specialized at all, even though it's against most of the bias of anyone who wants to enter the industry. Even if it's a very abstract answer, I think it's one of the most powerful things you can have as an artist. If you are doing your projects, it is quite important to be completely agnostic to any department and just focus on what you want to do, what you want to tell, and what your aim is. And real-time was perfect for me because, in only one shoot, I could do most of the things I always wanted to do. That’s when I started to realize that I needed an environment where I could do most of these things. I was also able to do nice motion capture sessions and put things together and present almost a pilot, which wasn't expected because we were doing only crowds. In those projects, at some point, they were surprised that, for example, when I was working on crowds, I was able to do cool presentations inside ILM because I was able to do good renderings. Obviously, in companies, this is quite limited by the nature of the pipeline itself unless it's a very small show. I basically work with most of the departments inside VFX, but the problem is I have always wanted to do more. This, sometimes, in VFX is not as simple as in other specializations. I thought: "I've already spent 10 years working on the stories of others and now I want to create my own games and my own stories."Ĩ0.lv: What are you specialized in? What are your main strengths? What projects have you contributed to as a team?Īlvaro Garcia Martinez: My main strength is not to be a specialist in anything at all, and in fact, I don't have any specialist strength more than having a holistic approach to everything. So, I founded my own company to give it a try and build The Seed of Juna in real-time. I decided to quit not only DNEG but the whole VFX circle – the classic DNEG/Framestore/MPC/ILM. The nature of real-time is that as long as you have an idea, you can reproduce it quite fast. So, I decided to quit DNEG as I thought that I could do the things that I had done in the companies completely on my own. As the animation business is huge there are giants in the industry, but the problem with the giants is that sometimes they move slower because such big companies have to approve many things to try R&D or real-time. ![]() I felt there were not enough projects, or speed, let's say, in the industry itself. I was working at DNEG with real-time solutions. It started obviously with the pandemic – many companies started at that moment. I always move in-between departments and specializations.Ĩ0.lv: How did the story of Mayhem Mirror Studios begin? What's the story behind the project?Īlvaro Garcia Martinez: It's a very interesting question. This includes Crete, which is a biopunk prototype multiplayer and a story-driven game at the same time. Last year, I turned to game design as well. This includes Sumer in 2014 and The Seed of Juna in 2020 – both were pilots that currently developed to bigger projects like feature films. Simultaneously, I've been always working on my own projects. That's more or less the entire professional background. The projects I worked on include movies like The Jungle Book, Pirates of the Caribbean, Transformers, Alien, Wonder Woman, Ready Player One, Life, Fast and Furious 9, The Matrix 4, Avengers, and Infinity War. For some time, I worked at Fusion Animation and later in VFX at MPC, DNEG, and ILM. However, I changed the direction when I studied at CICE. My background actually comes from sports and martial arts. I studied at CICE, Madrid, the School of Animation. Where did you study? What companies have you worked for? What projects have you contributed to?Īlvaro Garcia Martinez: My name is Alvaro García, and I'm a director at Mayhem Mirror Studios. ![]()
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