Abstract: Reflection on Practice

This is the abstract for my written module:

A Picture Can Speak a Thousand Composites

Filmmaking is visual storytelling, or ‘character-telling’, and the visual language of a film needs to be very precise, symbolic and effective. In today’s world, visual techniques are widened, but are people using them effectively and considering their predecessors and pioneers in filmmaking?

I specialise in the visual effects area of compositing: Brinkmann (2008) describes the area of compositing as the integration of at least two different mediums. I believe that with this process you can make a powerful, filmic or artistic image.
Visual effects is the combination and integration of live action and CG, but I believe filmmaking needs to combine these well to tell an effective story.
Sijll (2005) demonstrates many filmmaking conventions used in films, mostly modern films. Studying the early pioneers, for example, George Melies and Edwin S. Porter, the early effects and techniques are clear and simple. Alfred Hitchcock’s philosophies are more developed and practiced decades later. Modern-day filmmaker Martin Scorsese uses film knowledge extremely well, and his visual effects film Hugo addresses the same issues as my study, in plot and visual.
The focus of the study is on the particular storytelling convention of composition and the framed image, taking influence from these individuals, their films and more, while focus groups or interviews inform the perspective of general film audiences.

This study allows me to investigate the relationship between significant periods of film history through one focus: the composition. This will make sure that no-one forgets the importance of the artform and their antecedents.

Fraser Murdoch (MSc Animation and Visualisation)

Actor Reel

Myself, Jeppe and Michal met with Sandy Jack today, who has been cast as the leading actor. He has the look that we want for the film, and we have spoken about the style we are going for briefly. We will meet up again in the coming months to rehearse and conduct tests to hone in on what it is we are looking for.

Here is Sandy's showreel from last year:

Sandy works on other projects with my collaborator Jeppe Nielsen.

I am currently contacting an individual about playing the role of the mother.

The storyboard is still in progress at the moment. It is being developed to an intricate level in regards to techniques and exact framing.

Location Scout

Myself, Jeppe Nielsen and Michal Zagorski set out to have a look at some locations we had in mind for the film.

We need:

A living room -  my family home, with CG alterations

A hospital - the Clinical Skills Centre at Ninewells, with CG alterations

A church/cathedral - we have had a look at The Steeple, but are set to contact St Pauls

Two alleyways - We have found two in the Nethergate, with some created in CG

A factory - this will be CG with live action smoke, for example.

We have all but one location locked, and I feel the progress is very encouraging and the way everything has been conducted has been very professional by the experienced team.

'The Escapist' | Outcome

'THE ESCAPIST' | Music Video Animation Sequence from Fraser Murdoch on Vimeo.

'The Escapist' Project

Last semester I had a discussion with cinematographer and TBA student Michal Zagorski. We discussed the fact that I needed a cinematographer for my masters project and that he needed an animator for his third year TBA music video 'The Escapist' which he was working with classmate Jeppe Nielsen on.

The deal was made, and I had a long discussion with him about what he and Jeppe had imagined for this piece in one particular scene. I started to put down what he said and then made progress trying to get support in some technical areas to produce the work - as I could not manage it by myself.

In the masters studio as I discussed the project, Thomas Hogben showed a keen interest in doing particles for the film - something in which he is passionate about. That got the project rolling, and as the new year came there were more frequent meetings about both projects. Mainly director Jeppe bagan chairing meetings and we got 3D modeller, rigger and animator Sang (Sean) Hun Yu involved to make the bats.

Thomas had used one of the plates for a test for his masters project based on light particles travelling in ultra slow motion. I showed his work of light travelling from the headlights of the car in one of the plate and Michal and Jeppe loved it, so we encorporated it into the film. Tom then found time to develop the look of the particles.

Another thought came to mind during one meeting - animation of ants underground was needed. So, I got my friend Brian Lindsay involved. Later to find out that Jeppe and Michal wanted the ants so small you would hardly see them. In the same meeting, I realised that we may need to reconstruct the background when the headlights brighten up the darkness. So, I asked Brian to help painting up a tree for us. Communication and meetings really are important. The input in them and me Thomas and Sean working in the studio have been really important, even for such a small project. This point does need to be stressed to some people.

Primarily I was compositing everything and doing a lot of basic animation and key framing shifting in After Effects. However, by the end of the project, recently, the 'proper' compositing and 'VFX' were involved - rendering and lighting the bats and compositing them, the headlights and trees.

It has been a good team. And these are the type of people I like to work with. And, I am satisfied with the quality of the small project on a short timescale. So, I look forward to the rest of the production of my masters film project with Michal and Jeppe, and others involved.

Now, let's win some awards!

'The Escapist' Updates | Tracking

The project I am working on in conjunction to my main piece with Jeppe Nielsen and Michal Zagorski is nearing an end. It should be summed up by Monday the 10th.

The main animation sequence in the extreme long shot has been updated (last week):

Some tweaks have been made to this. Particularly, the moon does not scale up and appears to light up the fog as it parts (not all of the fog) and the bats/stars in the sky stay there for the majority of the clip until they fly away with the moon. I am waiting on the final particles for the bats from Thomas using Sean's bat then will sync' it the best I can.

I have tracked and corrected this other shot in the sequence. I took the light from inside the boot out to make sure it was darker; put Sean's 3D bat in position, rendered them, tweaked them in Photoshop and then composited them and the corrections into the tracked shot.

Here is the latest on that shot:

Original plate:

 Comp' still:

The track could be a bit less shaky if it were done in another software I think, but it was done in After Effects for flexibility. I am happy with the composite though in regards to how the lights and shadows are reacting while still keeping to the surreal idea the director wants - the idea that we do not quite yet know what all of this stuff in the boot is (dark and abstract in a sense).

After this, the bats will all flood toward the screen and then passed the character and into the sky as you can see in the first clip.

There is another shot I've not mentioned where the headlights of the car seeps into the sky, and for this shot my friend Brian Lindsay is drawing trees which I will use in the background to make it appear as though the headlights are lighting the background up (which of course is very dark and lost in the plates).

__________

In my main project: The storyboard is underway, the script is getting good feedback, I am thinking about the practicalities and how long it will take to execute the effects in the shots, we're still developing the piece in regards to these things and our plans for shooting. By May we will be filming, so the planning and testing will all be done. Then I will be executing the final techniques. For August, the full piece may or may not be fully polished and finalised, but the effects and look will be thoroughly detailed in what is presented. After August, the final film touches in general will be finalised and it will be submitted to this and that.