<span class=normal>We managed to push the scenes polygon count to over 5.3 billion <br><br><p class=clear>&nbsp;</p>The trench episode was one of the most challenging sequences, with the fly being re-born into a large-scale Grand Canyon type environment. Initially, the crew tried to film the angles with live water and a physical set although, due to constraints and limitations of the cameras, they could not achieve the angles required for the sequence. The decision was then made to do the entire sequence digitally, which was an enormous task. The amount of detail in the environment was colossal, every single grain of sand, dirt, rock, root and leaf needed to be viewed in high detail, the water simulations requiring weeks to compute due to the high level of detailing and environment interaction complexities. A normal scene has several million polygons within a shot, however, this particular sequence, thanks to a system Makuta developed and some intuitive caching of data, we managed to push the scenes polygon count to over 5.3 billion. Something even the developers of the software were amazed at. <br><br><br><p class=clear>&nbsp;</p><amp-img width=1.33 height=1 layout=responsive src=https://images.bollywoodhungama.com/img/feature/12/oct/makkhivfx5a.jpg></amp-img><BR><br>Talking about the series of tech involved Pete and Adel conclude, Makuta used numerous software products to create the effects work for Eega - 3ds Max for modeling, animation, dynamics, lighting and rendering, Maya for character animation and partial rendering work, Mudbox for digital sculpting, Photoshop for texture work and matte-painting, Digital Fusion and Nuke for matte-painting and compositing. In addition, Makuta has its own dedicated render farm for rendering the 2000-plus shots that was required for this feature film. </span>