A lot of the film is set at night so that the holographic elements have a distinct glowing neon look to them. However, this wasn't where Territory went with its designs because Rupert Sanders and Guillaume Rocheron wanted to start with something different to the usual glowing hologram look you get with some wireframes.
Peter pointed out that, "The look we created for the assets was realistic, meaning the neon look was created by MPC, particularly for the night shots. The brief was to develop the assets as if they were meant to be integrated realistically into the shots. So, we used proper shaders and textures, not just simplified, glowing ones. We delivered our assets with a reference turntable render that showed the asset in a neutral environment as well as a version where the asset in question was integrated into a reference shot."
There are a lot of visual effects going on in most of the street scenes where Lead Actor Scarlett Johansson is walking around and here Territory was responsible for compositing the animated CG elements into the final trailer shots. In the film itself, most of that was down to Lead VFX Vendor MPC to do, as Territory's job was to create the assets in the first place.
Still, Peter and his team had to work closely with legendary VFX Supervisor John Dykstra on the animated CG elements for the cityscape and street scenes. Part of the discussion was about how to deal with reflections and transparency from the assets at different times of day/night.
We mostly used MoGraph effectors to deal with these types of animations and, as usual, the ease of use and the speed we could iterate through versions were essential to the job.
One of the various assets seen in the trailer is some animated, rotating Japanese text. Here Cinema 4D made light work of the job as Peter explained, "We mostly used MoGraph effectors to deal with these types of animations and, as usual, the ease of use and the speed we could iterate through versions were essential to the job. The only bottleneck we ran into was the baking part, and it took a bit of time to figure out the best solution to make sure all the animation was properly converted into keyframes that could be exported into other apps."
Flexibility was the key when it came to generating the CG people who appear to be created in the holo-conference scene where the victim is digitally animated and examined. The team used a number of different techniques to generate the figures, such as voxels, particles, textures and different types of rendering techniques, volumetric rendering as well as non-photorealistic rendering techniques (using Sketch and Toon) to quickly iterate through designs. Those concepts were then passed on to MPC to base its visual effects on.