“Using Deadline’s pool system, we were able to divide the render farm between artists, so everyone was able to see at least a part of their shots quickly. This required no extra render wrangling, as Deadline is smart about how it uses resources. Jobs finish faster and more machines free up. “The every Nth Half faster refine option is really nice here, as its fleshes out a shot very quickly, then the blanks just fill in. This means composite artists can begin work across a shot much sooner than if they were using traditional lin- ear methods.” massively popular MOBA game – the studio also crafted Smite’s impressive ‘Battlefield of the Gods’ trailer in 2015, when the game was still growing its player base. The trailer made such a huge splash with fans new and old that developer Hi-Rez Studios was prepared to enlist RealtimeUK’s tal- ents for even bigger aspirations. “As soon as we finished the first trailer, they were already in talks about getting the second one on, because of the amazing response they received,” says Matthews. “We wanted everything to feel as close to reality as possible.” Heavenly work RealtimeUK has built a reputation as a go-to stu- dio for cinematic trailers, capturing the essence of combat, characters and complex game experiences. The team has produced similar videos for titles like Dreadnought and Dropzone, as well as War Thunder, World of Tanks, and Rare Replay. ‘To Hell & Back’ isn’t RealtimeUK’s first crack at the Released one year later, ‘To Hell & Back’ burst onto the scene, revealing a significant evolution in visuals over the first trailer, spotlighting the varied com- bat styles and characteristics of each fighter as they clash in a ballet like battle. Across the 3.30 minute trailer, we witness swords swinging, walls of ice shearing upwards from the ground and sizzling lava cascading down around the combatants. It’s everyday stuff for players of Smite, but delivered through the sumptuously rich renders produced by the RealtimeUK team.