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Game of Thrones 7


Time: 2016
Client: HBO / Fire & Blood Productions

Even after many seasons, Game of Thrones presents us veteran vendors with exciting novelties.

This time around, the greatest change was that KARAKTER did not only service the legendary vfx team, but we also broke into the art department. Many craftspeople in construction turned the designs of our concept artist Philipp Scherer into actual film sets.

For the first time ever, KARAKTER designs were crossing the line from the virtual realm into reality.

Team:

Philipp Scherer – Art Department Artist
Robert Simon – VFX Concept Artist
Floris Didden – VFX Concept Artist
Tobias Mannewitz – VFX Concept Artist

Having a 3D model combining the real life locations allowed me to design Dragonstone in such a way that ensured the shots described in the script would not only look great but also line up realistically from all angles.Floris Didden, VFX Concept Artist
Using photogrammetry and lidar models of the set locations I constructed a to scale 3D model of Dragonstone island and then designed the fortress on top of that.Floris Didden, VFX Concept Artist
In Martin's original books, Dragonstone was described to look like an actual dragon. We wanted to live up to that notion by having stretch Dragonstone across a peninsula that looked like a dragon (if seen from the air…). This idea had to be dropped because it was incompatible with the shoot locations, but the mood still prevailed.
The following images are concepts for sets created for the art department by Philipp Scherer. In past seasons, we were only doing vfx set extensions, cg action shot concepts, or CG environments. These sets, however, ended up being built for the actual scenes.
Quick action sketches are essential in the pre-production phase to discover the look and feel of the scenes described in the script. Also, sketches in general have the advantage of being more energetic because of their loosness, which makes them ideal for action scenes.Robert Simon, VFX Concept Artist
This final gallery section depicting the ice wall shows a nice interplay between the work of our artists over at the vfx department and sets designed to be built in reality.
The way Eastwatch-by-the-Sea precariously hangs on to the end of the wall reinforces the feeling of helplessness and isolation followed by despair as the Night King finally brings the whole thing crashing down.Floris Didden, VFX Concept Artist