How did the “Electrical State” team create a world of unbearable robots

The new Netflix “The Electric State” is filming a world full of robots – but not robots as we know them.

It was directed by the two brothers Anthony and Joe Rousseau (who previously operated two avengers, “Infiniti War” and “End of the Game”) to favor A budget reported 320 million dollarsThe “Electric State” is taking place in an alternative version of the nineties, where the emotional robots have been present for decades. This is long enough for them to rebel against their human masters, lost the war, and found themselves exiled to a region of southwest – a region whose heroes must (Millie Bobby Brown and Chris Pratt) to infiltrate it.

Decreased for the supervisor of visual effects Matthew E Battler, In terms of design, these robots are “intentionally” the opposite of the robots today.

Bater told me: “Most of us have witnessed robots in the modern era … and they used in these designs.” “If you look at the Boston Dynamics robots, you will notice that it focuses the robot mass in the middle of the robot, and then when it goes to the ends, it becomes less and less large, because this is just a defense design.”

On the contrary, the Cosmo Robot of the film has a “giant head on a small neck”, described by Pater as “the worst design of the robot.”

Like the film itself, this design depends on Simon Stolhj, a video of the same name. But Beller made it clear that there is an internal explanation for Cosmo and other strange robots that are often extracted from the real and connected pop culture: it has been created to be “not threatened”, and this is why they seem “somewhat of speech, fun and fun.”

All of this means that the Bater team had to start with a design that was instantly incontinently, but turned it into something “true and physically believing”. To do this, they decided to honor the original Cosmo design in Silhouette.

“If you turn and put it away from the camera (the camera), it is similar to Cosmo, the way in which it is found in the book,” Pater said. “But if you get close to and check a shoulder, you will see that there are payment bars there, and you can see engines, you can see circles, with the ankles and feet.”

The goal is to persuade the masses that “something can really succeed.” Once persuaded, they will accept Cosmo design, and other robots design, without seeing all the details.

And yes, there are many other robots. Bater said that his team had to bring “hundreds and hundreds of unique robots” to life-not because every robot in this alternative world is unique, but because “in the movie, we only show individuals only.”

In other words, every robot was an individual personality. Unfortunately, there were no easy shortcuts for the VFX team that had to make it as real as possible.

He said: “We have scratched our heads several times – like,” How do hell do we do this? “If you have 100 different robots and they all move, they must be able to move, which means that you must be able to manipulate it, so someone must design it, someone should draw them, on someone to move them.”

To bring these robots to life, Pater said that the team used a mixture of traditional visual visualization Movement And a newer system using the accelerator allowances. This allowed a team of seven pilgrims to capture the movement by working with representatives of direct work on the site and on a group, with their performance and then providing the basis for animated robots-whether they are enormous or the size of the human or commensurate with the comfort of the personality of the personality.

Bater emphasized that the process was much more complicated than just moving the actor’s movements to a robot body.

He said: “Take a little Hermann as an example.” “I got the performance of (movement picking), and he adds his taste and performance, a person with which Chris Pratt can act with him. Then she says,“ Well, well, but the actual robot cannot do many things that this man can do. ”So far you need to change it based on the restrictions of the robot design itself.”

And it has not yet ended: “Then you speak to the managers, and there is a special change in the characteristics, which you now need to honor, so you are changing that, and then you have the wonderful audio representatives who add a lot, and now,” well, “if the character (looks like), the rhythm (from the robot) needs to change.”

In the end, Patel said that the robots that we see on the screen were created through the work of all these artists and performance artists who meet: “For this reason we really operated our arms and continued with them.”