Who did What on Love Death + Robots
With the release of Love, Death + Robots Netflix has brought the abilities and talents of the 3D artists to the mass markets, showcasing just how far animation has come on in recent years.
The hit series showcased a variety of of different styles of animation from the Neon photorealism of “Sonnie’s Edge” to the hand painted texture of “Suits”. These different arts styles in each one were what made the series so beautiful and intriguing. The series almost felt like a showcase and “look book” for the studios which made each episode.
The production was lead and powered by V-Ray for its ability to give faster and light reading renders which were able to provide the photorealism which was wanted in “Sonnie’s Edge”, “Beyond the Aquila Rift” and “Helping Hand” but it also came to play in the more stylised animations with its lighting renders still keeping to the aesthetic of the episode.
The Studios and Facilities that worked on Love Death + Robots
- Episode 1 – Sonnie’s Edge – Blur Studios
- Episode 2 – Three Robots – Blow Studios
- Episode 3 – The Witness – Pinkman TV
- Episode 4 – Suits – Blur Studio
- Episode 5 – Sucker of Souls – Studio La Cachette
- Episode 6 – When the Yogurt Took Over – Blow Studio
- Episode 7 – Beyond the Aquila Rift – Unit Image
- Episode 8 – Good Hunting – Red Dog Culture House
- Episode 9 – The Dump – Able & Baker
- Episode 10 – Shape-Shifters – Blur Studio
- Episode 11 – Helping Hand – Axis Studios
- Episode 12 – Fish Night – Platige Image Studio
- Episode 13 – Lucky 13 – Sony Pictures Imageworks
- Episode 14 – Zima Blue – Passion Animation Studios
- Episode 15 – Blindspot – Elena Volk
- Episode 16 – Ice Age – Digic Pictures / Blur Studio / Atomic Fiction
- Episode 17 – Alternate Histories – Sun Creature Studio
- Episode 18 – Secret War – Digic Pictures
If only we’d have had the chance to join this list of studios. We’d have put real humans in realtime rendered sets like we did below for NTT. Combining realtime rendering with live action on-set and virtual cinematography we’d have spun up our own twisted robot world.