TV Series

TV Series

Dream Corp LLC

Dream Corp LLC

Dream Corp LLC

Overview

Overview

Overview

Touted as the networks first rotoscoped animated show, this absurdist comedy series ran for three seasons on Adult Swim. Dream Corp LLC is an unconvential dream therapy facility where patients are cured by having their subconscious state analyzed and manipulated. We watch as Dr. Roberts (Jon Gries) inserts himself into these dreams to help guide patients toward facing and overcoming their psychological fears. This hybrid live-action/animated series brings familiar rotoscope animation to an entirely new visual style.

Production

Production

Our team lead all design, animation and visual effects and was deeply integrated from pre-pro through final delivery of the show. Working closely with show creators, and across multiple departments, we were heavily involved in all aspects of production. This included camera tests, storyboards, on-set acquisition, live-action vfx, editorial, post workflows and of course, design and animation.

Production

Our team lead all design, animation and visual effects and was deeply integrated from pre-pro through final delivery of the show. Working closely with show creators, and across multiple departments, we were heavily involved in all aspects of production. This included camera tests, storyboards, on-set acquisition, live-action vfx, editorial, post workflows and of course, design and animation.

Filming and Acquisition

Season 3 of the show pivoted to filming the dream sequences against green to help expedite previz in a now heavy 3d workflow. We supervised early camera tests and green cove prep, filming various lighting conditions to test our pipeline. Precise grids were also prepared and given to the camera department to load into the Alexa Mini to properly frame for, and monitor against, 3k capture. The art department was tasked with creating green placeholders for both filming and matchmove purposes. Rather than follow the flat lighting schemes of earlier seasons, these camera/prelight tests ensured we were able to light talent in a more meaningful way to service the story, as well as have more contrast and gradation for the rotomation key frames.

A MultiMedia/ MultiPlatform Pipeline

Design and animation happened in close collaboration with editorial as the dream sequences could not be fully locked without previz. Editors cut-together preferred takes with storyboards and rough comps to help guide general timing. We worked closely during this edit phase to ensure certain takes and direction would indeed work. There were four sets of proxy files used in tandem across departments during post. Editorial cut with the Alexa proxies generated in-camera as ProRes LT. We would then receive shots with handles as ProRes HQ in Log. These plates were then quickly keyed and rendered out as half-res PNG sequences w/alpha to ingest into C4D for previz. The PRHQ plates were also transcoded to JPG sequences, baked with pre-color at Rec709, for the rotomation team to begin their drawover illustrations. Finally, we received higher fidelity ProRres 444 plates for all live-action VFX.

A MultiMedia/ MultiPlatform Pipeline

Design and animation happened in close collaboration with editorial as the dream sequences could not be fully locked without previz. Editors cut-together preferred takes with storyboards and rough comps to help guide general timing. We worked closely during this edit phase to ensure certain takes and direction would indeed work. There were four sets of proxy files used in tandem across departments during post. Editorial cut with the Alexa proxies generated in-camera as ProRes LT. We would then receive shots with handles as ProRes HQ in Log. These plates were then quickly keyed and rendered out as half-res PNG sequences w/alpha to ingest into C4D for previz. The PRHQ plates were also transcoded to JPG sequences, baked with pre-color at Rec709, for the rotomation team to begin their drawover illustrations. Finally, we received higher fidelity ProRres 444 plates for all live-action VFX.

A MultiMedia/ MultiPlatform Pipeline

Design and animation happened in close collaboration with editorial as the dream sequences could not be fully locked without previz. Editors cut-together preferred takes with storyboards and rough comps to help guide general timing. We worked closely during this edit phase to ensure certain takes and direction would indeed work. There were four sets of proxy files used in tandem across departments during post. Editorial cut with the Alexa proxies generated in-camera as ProRes LT. We would then receive shots with handles as ProRes HQ in Log. These plates were then quickly keyed and rendered out as half-res PNG sequences w/alpha to ingest into C4D for previz. The PRHQ plates were also transcoded to JPG sequences, baked with pre-color at Rec709, for the rotomation team to begin their drawover illustrations. Finally, we received higher fidelity ProRres 444 plates for all live-action VFX.

A Fresh Take

The BEMO team lead by ECD Brandon Hirzel, Design/Creative Director Brandon Parvini and Art Director William Mendoza are the real masterminds behind the look and feel of the animated sequences. Rotomation was executed by ArtBelly Productions (of A Scanner Darkly fame), and brought into our hybrid 3d workflow. If A Waking Life is rotoscoped animation 1.0 - Dream Corp LLC takes it to a whole new level. Far from being 1:1 tracing of footage, you can see from the following examples this entirely new take of rotomation which blends 2d/3d methodologies, including 3d environments, camera projections, dynamics, motion capture and motion design.

Traditional VFX Included

Traditional VFX Included

Traditional VFX Included

In addition to the animated dream sequences, we also supervised and executed all visual effects, including 3d modeling, animation, matte paintings, smoke, fire, screen replacements and rig removal. Close planning and collaboration existed between our team and all departments involved for various scripted setups (ie., stunts, practical effects, wardrobe).

That's A Wrap

It was recently announced that the show has officially ended and existing episodes can now be watched on Hulu. This was an amazing experience helmed by director Daniel Stessen and EP Kahlea Baldwin who kept the entire cast and crew working in close union. This short form series certainly showcases the continued possibilities of hybrid execution styles and how it can be further developed using explosive advances in AI-powered animation.

Credits

Credits

Credits

Client: Adult Swim

Director: Daniel Stessen

Executive Producers: John Krasinski,

Stephen Merchant, Kahlea Baldwin

Design/Anim: BEMO

Rotomation: ArtBelly

Executive Creative Director: Brandon Hirzel

Design Director: Brandon Parvini

Art Director: William Mendoza

Senior 3D Artists: William Mendoza, Alex Braddock

Senior Illustrator: Scott Hassell

(full cast/crew)

Dennis Shin

Dennis Shin

Dennis Shin

VFX Supervisor

Post Production Supervisor

TD, Pipeline, Workflow Dev

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