We had the privilege of working on one of our longest projects in collaboration with Aquiris and Warner Bros. Their trust in us was evident as they assigned us a pivotal role in the creation of this documentary, demonstrating their confidence in our capabilities. Guided by the creative expertise of Israel Mendes and Andrey Adamo, Creative Directors at Aquiris, we not only met but surpassed the franchise's expectations. From crafting set designs to using props from our friends at Shogun FX, our commitment to excellence was recognized and affirmed by Warner Bros.

Our main goal was to demystify the game's inner workings and the process behind its creation. This ambitious undertaking spanned over four months and engaged the talents of over 70 individuals.

Eric Bauza, the official voice actor for Looney Tunes characters, recorded all character voices in Los Angeles.

The entire documentary was filmed within the newly established Aquiris Studio Offices, now known as EPIC Games Brazil.

Before we dive into the behind-the-scenes details of this fun and nostalgic set, let's talk about the preparation. A lot went into it.

We covered everything from set design, scriptwriting, logistics, and prop-making. We even had detailed equipment listings, including lighting, cameras, lenses, and, most importantly, a fantastic team.

Speaking of props, we usually hire a production designer, but this time, given the nature of the project, we decided to handle it ourselves. And you know what? We had a blast doing it! We teamed up with ShogunFx, a fantastic prop-making company that brought all those amazing props you see on the sets to life.

Now, let's talk about the team. Our very own directing duo, John Arlington and Guilherme Zollim, led the video production. John Arlington also took care of cinematography and lighting, while Guilherme Zollim handled editing, color grading, and sound design, with some assistance from Aquiris's Paulo Bohrer.

In addition to the core team, we had a makeup professional, costume designer, production designer, gaffer, best boy, general assistant, and not to forget, the catering and lighting departments working tirelessly on this set.

Speaking of lighting, we opted for a consistent look throughout the film, using the following equipment:

• 2 Aputure 300D II with 90cm Octagonal Softboxes

• 2 Aputure 600D RGB with Fresnel lenses and 150cm Octagonal Softboxes

• 2 Aputure MC lights

• 2 Kino Flo RGB LED Panels (30 X 60cm) as overhead lights on a boom arm.

Our standard setup involved the 300D as the main light from the front/left for that Rembrandt-style feel. We used the 2 Kino Flos as overhead lights on boom arms to set the overall ambiance. Another 300D served as a backlight for the hair and shoulders, and we added a splash of color with a 600D. To give it a modern touch, we used some fluorescent cold tubes as practical lights in the background.

For our camera setup, we went with the BMPCC 4K paired with Zeiss Glass and a Glimmer Glass for that unique glow on practicals and smoother skin tones. We also had a tripod, gimbal, and shoulder rig on standby, ready for different scenes that required image stabilization.