We are literally rebuilding every single set from sweet game in real life but the problem is some sets aren’t realistic like this one and this one so i called in these guys to help me bring them to life we’re gonna show you how it’s done So on the record if the cg in the video is bad then i hate him but if it’s good then he’s literally my favorite human on the planet time will deal we have over 350 shots we have to do in 10 days okay wait how did we even get here let’s rewind If you’re familiar with the content on our channel you know that we do cinematic pre-visualizations and vfx and back in march mr beast hit us up to talk about visual effects we met at one of their sets and actually ended up in the lambo video i made a run for it but mike Actually made it to sixth and then mr beast posted the tick tock you know the one it blew up squid games was gonna be a thing and that’s how we ended up back here doing the visual effects for mr beast mr beast is a fan of doing everything practically which yields very realistic Reactions from people but not everything in this episode could be done realistically which brings us to the tug of war stage you might not know that many movies are actually made in the computer prior to being created in real life they just have the quality level of the original shrek it’s called Pre-visualization it allows everyone to see the vision and flow of the content as well as understand the scope and budget necessary by using the power of unreal engine we virtually created every set in this video that matched the real world versions this even allowed us to Film this scene prior in the computer so the team knew exactly how to shoot it in real life want to know what 456 people look like on this set how about how long the bridge needs to be to fit teams of 10 and what does that even look like with a 10 millimeter lens this video game technology allowed us to previz and techviz all of this and see it in front of our eyes and because this software is used to make games like fortnite we even turned one of them into a playable video game but more on that later So we’ve got our big dell computer this thing’s got an nvidia a6000 in it so it crushes every unreal engine scene we hand it and here you can see our computer set and the actual set we’re going to combine them and literally we are able to preview our unreal engine Scene live in our composite that’s pretty crazy dude hey sean can you throw me on a 24 millimeter lens and just like that we’re able to update the focal length on the lens virtually to be able to decide what’s going to look best for the final composite when We do our visual effects a little closer about a foot so we’re trying to get as high as possible to be able to get this master wide that they have it’s super cool and our previous show that we needed to be exactly 35 feet up literally just roll a couple seconds and cut The show actually used blue screen and as you can see we’ve got black curtains hanging up this allows us to actually have some final shots in camera and speed up our post-production workflow but also do a luma key and work on them a little further than others and with This method the contestants feel like they’re in an actual arena they don’t feel like they’re on a movie set which is really cool for the reactions of everybody involved as well as the cinematographers who are all running around in real time there’s no redos here we don’t have a take two Contestants are coming in literally if you look outside right now their contestants lined out the door there’s 456 people right outside waiting to play this game all right everything gonna go well oh yeah or at least from your side it looks perfect okay good look out there let’s do it [Applause] [Applause] [Applause] With a big project like this and only 10 days to do it we had to scale up our team a little bit and on top of that we had to move our entire production over to the mr beast team to be near the editors so that included all of our Computers and all the networking These are both my roommates in college that’s how i met right to do as many shots as the movie the matrix had in just 10 days was insane but we assembled a team of talented artists and there’s a bit of competition going on between everybody because we gamified It a little bit where we’ve got the classics like silicon valley progress reports with the sticky notes over here and everyone’s head shot so people are racing So one of my favorite shots in the video is the cinematic shot that i kind of snuck in the edit and i’m glad it made the cut and we shot this by using a blue screen key it all out and then we used the power of unreal engine with the Scene we built to put it behind the character with our tracked camera that brendan tracks in the computer so he basically matches the exact move of the camera we put it in unreal engine and then we have this combination shot that looks awesome we add some lens flares at The end and it just looks realistic it’s super cool and remember how i told you that we can use this to actually make a video game check this out oh no yeah we turned it into a game this is all he’s done it only took an hour we just Converted the map all right it’s a 50 50 is it a 50 50 shot what do you have here it’s all different it’s all varied there is a kind of like threshold at the third view okay so it gives you a little bit of a dopamine hit at the beginning yeah okay guys I’m three in right now foreign sam someone help me such a good job as we were getting closer we were excited to show our work off you want me to come in now yeah dude if you can come in right now that’d be great take a look at some of The stuff we’re working on cool this is kind of a color pass of us working on some of the red light green light stuff so this was actually all shot in a warehouse the other thing yeah thank you very well everyone actually like trickles out [Laughter] How do you do this i want to find this one that’s so funny hold on one of my favorite one of my favorite things about it is like we put it together and we’re like we need some we need some dust i want zara to pull up a shot [Laughter] a lot of this is actually using like video game engines now can’t um we’re trying to come up with like what the game theory is behind this that’s like yeah what’s the percentage and then how high does it get first person to finish gets a million dollars If you guys haven’t already you should hit the subscribe button right below this video i mean look how hard they’re working come on it was an insane amount of work but with this great team and using this new real-time technology we were able to pull it off and we were Really excited once we did [Applause] oh yeah and one more thing something really cool that didn’t make the cut just because we were so pressed for time when you’ve got a friend in maui who’s got access to a helicopter you give them the green light to get that shot to replicate the show And we’re super pumped with how this turned out thank you so much for watching the behind the scenes and we hope you enjoyed it and please be sure to check out some of our other content and consider subscribing to be updated on all of our new stuff we’ll see you next time Video Information
This video, titled ‘Making MrBeast’s Squid Game in 10 Days’, was uploaded by SoKrispyMedia on 2021-11-27 14:00:13. It has garnered 19745365 views and 808054 likes. The duration of the video is 00:08:19 or 499 seconds.
Get an inside look at how we recreated Netflix’s “Squid Game” with @MrBeast in the official behind the scenes. We’ll walk you through the sets, the shoots, and how we *actually* built MrBeast’s Squid Game with previsualization, CGI & VFX. We’ll even show you how we made a playable video game version in Unreal Engine—leave a comment if you want to actually play!
Huge thank you to MrBeast and his team for having us on such an epic project!
JUMP AROUND 00:00 – Intro 00:37 – Backstory 01:00 – Previsualization 03:23 – On Set + Before & Afters 04:23 – VFX Artists & Process 05:13 – Shot Breakdown 05:36 – Making MrBeast Game a Video Game 06:21 – MrBeast Visits 07:30 – Wrap-up
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OUR CREW
Creative Director – Sam Wickert Producer – Micah Malinics VFX Co-Lead – Brendan Forde VFX Supervisor – Luke Snedecor VFX Coordinator – Rachel Additon
VFX Artists – Taos Whittaker, Wyatt Hall, Sebastian Brown, James Luke, Matthew LaPenna, Zahra Hussain, Dylan Tate, Gil Milstein, Caleb Lambert, Will Hendrickson, Daichi Sakane
Production Support – Sean Boullianne BTS Videographer – Jordan Borrowman Editor – Colin Ross
Helicopter Videography help by Kevin Wolf
Music courtesy of OVERWERK – https://www.overwerk.com/music
TECH MENTIONED
Dell Precision 7920 Nvidia a6000 Unreal Engine Black Magic Cinema Cameras / Davinci Resolve Rokoko Motion Capture Vanishing Point Virtual Camera
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