To begin, we used simple placeholders to lay out our idea for our stall, and also to to figure out all the sizes that we would need to print the pages.
We decided that we would divide the stall in two, with examples of my work on the left, and examples of Callum’s work on the right. My side would include concept art and character design, whereas Callum’s side would include models and renders.
I compiled a whole bunch of character drawings and environmental assets to use in the long portrait image that will be positioned to the left of the poster. We decided to make this particular image really tall to add some variety to the format in stead of it being made up of mainly squares.
This previsualisation image is how we imagined the final layout would look in the end, and was out main reference for planning the prints.
This is a photograph of our final layout including all of our prints as well as our CVs and showreels. We planned to have our business cards printed out but issues involving the printing company meant that they were not printed in time for the deadline.
Despite this I am pleased with the overall layout and aesthetic, and hope to have the business cards printed very soon so they they may be added to the display.
I changed my business card slightly to include a screenshot from Storm Within on the back. I also changed the formatting of my name on the front to make it more bold and colourful, and also to match my showreel.
a small illustration or portrait photograph which fades into its background without a definite border.
Originally, we wanted the four creatures to be surrounded by smoke and fire to give off an unnatural, nightmarish vibe. However, due to many technical difficulties this proved to be too time consuming and intensive on our systems.
These tests were created by Callum Luckwell.
To counter the lack of smoke, I thought back to the show Hannibal (2013-2015), and noticed that it made use of a more blurred, darker boarder on most of its frames. They ranged from very subtle to incredible obvious, depending on the intensity of the scene.
I did a little more research into the use of Vignettes in film and how they can be used effectively, and most importantly, how they add to the emotion of a scene.
Below you can see the how I incorporated the vignettes into the film.
I achieved these effects by duplicating the movie file, blurring it, then creating a circular mask that cut out the middle of the picture, leaving the unblurred movie file beneath visible. I then added a gradient overlay to the blurred image, and depending on the emotion of the scene, made it subtle or very dark.
I had never even attempted to learn After Effects before reaching the editing and compositing stage of this project. I began by looking at some basic tutorials to get me starting with learning the interface.
It was a learning experience and I did manage to get the hang of the program, and I was able to render the imported frames and apply the correct effects to them.
While planning out how each shot would be animated, i came to the realisation that animating some of the shots and effects in the film would be far to complex and beyond by current abilities as a 3D animator.
The most difficult of these shots was going to be the rabbit silhouette transforming into the snake:
Having a rabbit-shaped silhouette morph into the shape of a coiled snake is easy enough to plan out if we were to animate this scene in 2D, but unfortunately this proved troublesome in 3D.
However, we found a solution to this problem by creating a very simple 2D transparent image of the rabbit shape, and carefully applying a light behind it in Affter Effects.
I also used 2-D drawings and overlaid them on the 3-D animation for other effects, such as raindrops and leaves blowing in the wind.
These effects were composited in after the 3D animation was rendered. They are simple transparent drawings that I carefully placed over each scene to create the illusion of blustering leaves and pouring rain.