I have good news to report. Lost Light has just been accepted into the Atlanta Underground Film Festival! While there are still changes to the lighting I wish to make, (I have been delayed in making those changes due to some computer problems I have just managed to fix), I will be submitting the film as is to the festival. According to the email I received, only about 10% of the films submitted were accepted! I am very proud of everyone involved in the film, and can't wait to see it on the big screen.
The festival runs October 11th-13th, 2014. See you all there!
Wednesday, October 1, 2014
Friday, September 5, 2014
Finished
So the film has been finished for what the class requires. I would love to go back and re-light a lot of this, since I didn't get the time to really focus on lighting with all the deadlines I had as the director. If I find the time, I update many of these scenes and post updates. I have received good feedback at SIGGRAPH about what I can do to improve the film, so when I have the chance, I will work on this some more. Hopefully I'll find some time and be able to implement these changes to the lighting. If and when I do, I will post updates.
Monday, April 28, 2014
Picture Lock
Well I've gotten to picture lock. Technically the look of the film, all animation and textures and such, should be done. In reality, I have lots left to change, including animation and timing, textures, lighting, and more importantly setting up for render passes.
I need to have render passes for the next steps because I am compositing visual effects of the ocean and particle trails into the film and need to have the elements separated. I also have long render times for a lot of this, and need to make the scenes more efficient, and separating things into passes will help me get them rendered on the render farm (which has a 2 hour per frame time limit).
So for now I have the new animatic with timing and textures, but I have a long way to go in the next few weeks. Also, I got in touch with a guy, Chris Klaxton, to compose some music for me. Can't wait to see what he comes up with!
I need to have render passes for the next steps because I am compositing visual effects of the ocean and particle trails into the film and need to have the elements separated. I also have long render times for a lot of this, and need to make the scenes more efficient, and separating things into passes will help me get them rendered on the render farm (which has a 2 hour per frame time limit).
So for now I have the new animatic with timing and textures, but I have a long way to go in the next few weeks. Also, I got in touch with a guy, Chris Klaxton, to compose some music for me. Can't wait to see what he comes up with!
Sunday, March 30, 2014
Texturing and Other Changes
I am finally in the final stage of development. In these last few weeks, I will be texturing, lighting, rendering, compositing, and adding special effects, as well as color grading and finalizing my credits. I am really excited about this film, but this quarter got off to a slow start for me thanks to an unexpected illness. Luckily, I'm back on my feet now and ready to hit the road running.
During the short break between quarters, I worked with Michelle and Nora (Art Directors) to redefine a look for the short to get a better sense of what I want it to look like. I am shying away from the completely photo-realistic look and trying to go with a stop-motion inspired stylization with believable textures. I will be posting the new mood boards soon. I also have to make adjustments to my backgrounds. (I apologize now if anyone has seen the current backgrounds, they are only placeholders.)
One of the changes I am making is adjusting models to fit the elongated and eschewed look. We have also pulled references from films in the 1950's to get an idea of the colors, look, and styles they used.
I wanted to share one of the images I've been working on. While this is only a test with preliminary test lighting and a simple checkered environment, I can see the direction I am going for in this one and I really love the look of it. I will post more soon!
During the short break between quarters, I worked with Michelle and Nora (Art Directors) to redefine a look for the short to get a better sense of what I want it to look like. I am shying away from the completely photo-realistic look and trying to go with a stop-motion inspired stylization with believable textures. I will be posting the new mood boards soon. I also have to make adjustments to my backgrounds. (I apologize now if anyone has seen the current backgrounds, they are only placeholders.)
One of the changes I am making is adjusting models to fit the elongated and eschewed look. We have also pulled references from films in the 1950's to get an idea of the colors, look, and styles they used.
I wanted to share one of the images I've been working on. While this is only a test with preliminary test lighting and a simple checkered environment, I can see the direction I am going for in this one and I really love the look of it. I will post more soon!
Monday, February 10, 2014
Style Frames and MoodBoard
For the past few weeks, I have been busy working on organizing my team and getting my texturing and animation under way. One part of this was to prepare an updated mood board that shows inspiration and reference material. I also made 3 Style Frames, which are sort of like making a goal for where you want the look of the film to go. So without further ado, my Style Frames and Mood Board.
Some inspirations come from Pixar's Blue Umbrella, Laika's Paranorman, and Sony's Monster House. |
Opening scene where the sun sets and "Ray" is born. |
Ray ends up inside this office before getting frustrated at the desk lamp. |
As Ray gets exhausted, he gives it one last chance. |
Labels:
3D,
color,
color treatment,
concept,
forest,
lighting,
maya,
style,
style frame,
style guide
Wednesday, January 22, 2014
Breakdown sheet
Shot
#
|
Shot Description
(Char, Props, BGs, Action, FX)
|
List of Elements / Assets
COMPLETED
|
List of Elements / Assets
NEEDED
|
Other Notes
(including
additional things IF you have
time)
|
1
|
Opening
shot, forested mountains and sunset with rays of light and particles.
|
Modeling
finished: forest, mountains, sun.
Sky/BG
painted.
Staging
finished.
Blocked
animation.
|
More
rays of light.
Particles
and Lighting.
Adjustments
to bg.
Texturing.
Sound
adjustments.
More
animation.
|
Repair
any penetrating geometry in the forest.
Environment
Fog.
|
2
|
Character
close up as Ray comes to life.
|
BG
painted.
Blocked
animation.
Staging
done.
|
Character
animation.
Particles.
Adjust
BG painting.
Adjust
texture.
Sound.
|
Add
more elements in background.
Consider
camera shake.
|
3
|
Ray
travels toward the city past a coastline and lighthouse.
|
Modeling
character and lighthouse done.
BG
painting done.
Staging
done.
|
Character
animation.
Particles.
Add
more foliage to cliffs.
Water
and Water effects.
Texturing.
Lighting.
Sound.
|
Adjust
BG painting.
Add
more elements in background.
Consider
camera shake.
Environment
Fog.
|
4
|
Ray
sees street lights as they get lit up by the other rays of light.
|
Models
finished.
Blocked
Animation.
Staging
done.
|
Character
animation.
Particles.
Lighting.
Textures.
Sound.
Add
more objects in BG.
BG
painting.
|
Add
more geo to background.
Consider
camera shake.
Fix
Sidewalk.
|
5
|
Ray
tries to light up the street lights himself but is beaten to the punch.
|
Modeling
finished.
Staging
finished.
Blocked
Animation.
|
Character
Animation.
Particles.
Lighting.
Textures.
Sound.
Add
more objects in BG.
BG
Painting.
|
Add
more geo to background.
Consider
camera shake.
|
6
|
Ray
tried one more time but the light turns on by itself.
|
Modeling
finished.
Staging
done.
Blocked
Animation.
|
Character
Animation.
Particles.
Lighting.
Textures.
Sound
(electric light).
Add
more BG objects.
BG
painting.
|
Remember
to make electric light green and add sound.
Fix
sidewalk.
Consider
camera shake.
|
7
|
Ray
sees traffic light.
|
Modeling
finished.
Blocked
Animation.
Staging
done.
|
Character
Animation.
Add
BG painting.
Lighting.
Textures.
Sound.
Particles.
|
Consider
adding geo in the BG.
Consider
camera shake.
|
8
|
Ray
misses the green light.
|
Modeling
done.
Blocked
Animation.
Staging.
|
Character
Animation.
Lighting.
Textures.
Sound.
Particles.
BG
painting.
|
Consider
geo in background.
Consider
camera shake.
|
9
|
Street
scene where Ray tries to light up a car headlight but is blasted by the light
instead.
|
Modeling
done.
Background
done.
Staging.
Blocked
Animation.
|
Texturing.
Lighting.
Sound.
Particles.
Character
Animation.
|
Make
sure no BG matte painting is needed.
Consider
camera shake.
|
10
|
Church
scene, where Ray is beaten to votive candles by his brethren.
|
Modeling
done.
Blocked
Animation.
|
Staging
adjustments.
Character
Animation.
Lighting.
Texturing.
Sound.
Particles.
|
Consider
adding more candles in background for lighting.
Consider
camera shake.
|
11
|
Office
Scene where Ray sees the desk lamp but it flickers on and he gets frustrated
and throws it off the desk.
|
Modeling
done.
Blocked
Animation.
|
Character
Animation.
Lighting.
Textures.
Sound.
Particles.
Staging.
|
Use
particles as sparks to show frustration.
Consider
camera shake.
|
12
|
Diner
Sign scene
|
Modeling
Done.
Blocked
Animation.
|
Character
Animation.
Lighting.
Textures.
Sound.
Particles.
BG
element.
|
Consider
building of some kind in BG.
Consider
camera shake.
Fewer
particles now.
|
13
|
House
scene, where Ray is trying to light a candle.
|
Modeling
Done.
Blocked
Animation.
|
Staging.
Character
Animation.
Lighting.
Textures.
Sound.
Particles.
BG
Sky (darker)
|
Consider
camera shake.
Consider
adding sparks as he hits the glass.
|
14
|
Theater
Marquee scene.
|
Modeling
done.
Blocked
animation.
|
Staging
(add building)
Character
Animation.
Lighting.
Texturing.
Sound.
Particles.
BG
element.
|
Remember
to animate lights.
Consider
camera shake.
Fewer
particles still.
Darker
sky/environment.
|
15
|
Ray
runs into a guard in an alley with a flashlight.
|
Modeling
done.
Blocked
Animation.
Staging.
|
Character
Animation.
Guard
Animation.
Lighting.
Textures.
Sound.
Particles.
Posters.
|
Fix
rig on guard if possible.
Fewer
to no particles.
Darker
still.
Consider
camera shake.
|
16
|
Bug
Zapper gets Ray.
|
Modeling
done.
Staging
done.
Blocked
Animation.
|
Sky
BG (very dark)
Lighting.
Texturing.
Character
Animation.
Sound.
Sparks
effect (zapper).
|
Keep
Ray at the same point in the start of this scene as where he ended in the
previous shot (transition).
Consider
camera shake.
Darkest
here.
No
particles from Ray here.
Ray
flickers.
|
17
|
Ray
travels by the coast and sees the lighthouse.
|
Staging.
Blocked
Animation.
|
Sky
BG.
Lighting.
Textures.
Character
Animation.
Sound.
Water
Effects and Water.
|
Figure
out the water here.
Consider
camera shake.
No
particles from Ray here.
Ray
is dim and flickers.
Environment
Fog.
|
18
|
Ray
flies up the side of the lighthouse.
|
Staging.
Blocked
Animation.
Modeling
done.
|
Sky
BG.
Lighting.
Textures.
Character
Animation.
Sound.
|
No
effects here.
Consider
camera shake.
Ray
is dim and flickers.
|
19
|
Ray
looks around and cautiously goes inside the broken glass.
|
Staging.
Blocked
Animation.
|
Broken
Glass needed.
Lighting.
Textures.
Sound.
Character
Animation.
BG
Sky.
|
No
effects.
Consider
camera shake.
Figure
out broken glass.
Ray
is dim and flickers.
|
20
|
Shot
of the lighthouse as Ray’s light slowly dims down to nothing and the scene
darkens drastically before a single flash of light emits from the lighthouse.
|
Staging.
Modeling.
|
BG
Sky.
Lighting.
Textures.
Sound.
|
No
effects.
Consider
camera shake.
|
21
|
Final
shot as the lighthouse lights up and illuminated the dark cold environment
with a bright warm light.
|
Staging.
Modeling.
|
BG
Sky
Water
and Water Effects.
Lighting.
Textures.
Sound.
|
Environment
Fog.
Consider
camera shake.
|
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