Latest Pre-vis | 11.06.13

This is the latest for the Masters Show 2013 teaser:

There are certain rhythmic issues in the edit and obviously no finished CG elements as of yet. But, this gives one an update on how the edit looks and how some fully tested and colour corrected shots may look in the final teaser piece.

It is the peer review tomorrow.

More on this later..

'Conjure' Colour Correction Test

In order for it to appear as though the factory interior in this dreamworld connects to the alleyway exterior (unexpectedly) I have made a start to test altering the colour correction to aid this transition.

I also believe that the fog needs to be synchronised to aid this transition, as well as perfecting this colour correction.

The Two Main VFX Shots Underway

So, Lina is getting further on with the CG environment for me having a look at and me and the filming crew shoot the character later this week, while the shoot for the alleyway is complete.

Here are a couple of stills before things start to shape up:

Storyboard Pages

These are near finals for the shoot. The shot lists just need a little tweak for the order we shall shoot it, and sync'd a little..

'Conjure' | Main Project | Character Bios

Here are some blocked out ideas of the characters in the film...

TYLER (protagonist):

Tyler is conjoined to his twin brother Simon from birth. There was a situation when he and Simon were young where they could have been separated. Their parents chose against this because Tyler was most likely not to survive from this surgery, and even though it would appear with Simon being the stronger of the boys, it still was too much of a gamble for the parents if they were to lose both of their sons. Simon has more control of the two legs they share, and if they were to survive the surgery there was also a fear that they would end up both disabled/in wheelchairs. The negatives were too much for their parents.

Tyler very much relies on Simon because he needs to negotiate with him where they are to walk, as his brother has more power to do so. Tyler has begun to just let Simon decide, and has lost confidence, and been a little depressed, and even lazy.

He often wishes that this was not the case and he was able to try out independance some more and even walk where he so wishes. He doesn’t have a particularly good job and doesn’t have much luck with the girls as he has become to lack in confidence. He’s quite a spiritual person.

SIMON (antagonist):

Simon is getting married soon to a really lovely girl. He works in a steady assistant manager in a factory job which usually consists of him sat on a chair in the office, as his conjoined brother Tyler sleeps next to him during the day at Simon’s work. He has grown to tolerate this more but he occasionally feels it holds him back, but he loves his twin brother and heartwarmingly wants the best for him also.

MOTHER/RACHEL:

Always a very bubbly person. That’s what attracted her husband to her when they were in their early twenties. Her maternal experience is a scarred one. She possesses a lot of love for people and the world and especially her two sons. However, the daunting position she has found herself in with her companion, her husband, to make important decisions about the lives of those she loves and made her very tired with spells of insomnia within her life.

FATHER/LACH: 

A fairly timid and content man. Prone to letting life pan around before his eyes and think of ‘nothing’. In his old age, he has struggled to maintain the ability of memory. However, he has been very conscientious in his day. Very much stuck in a dead end job, but determined in his hobbies. These hobbies have become somewhat of a coping mechanism at some difficult stages of his life. He enjoys DIY and betting on horses.

Nothing particularly noticeable or interesting happened until he met his future wife. However, he never knew how interesting married life could end up being. At times the challenge in his life has stimulated his otherwise dull life and his response to it. He’ll still get the nerves when he has to prepare for something outside a comfortable day in the office.

FIANCE/ALONA (duel-antagonist):

She is a training nurse, and is a student of the world. She loves to travel and has studied several courses and worked for charities in order to aid her open lifestyle.
In the film, she is found talking on the phone in an alleyway. This can be because Tyler finds her very mysterious and enigmatic, wondering why she loves his brother so much to commit to marriage. It is also the setting before the hospital which makes the idea that she has left the hospital to take a call. She is concealing and covering up a lovely flamboyant dress under her coat - which can be thought of as a summery dress or a wedding dress.

Update on Practice - AF101 and VFX

Today, I completed the first half of my training on the Panasonic AF101 with Malcolm Finnie.

The Panasonic AF101

Co-cinematographer on the project Alan McIlrath, who also took part in the training, has experience working with this camera on such productions as Flyboy Film Production's Pigeon Song (2012) and likes the quality of image it produces. 

This is the camera which we will use in the production of my masters film 'Conjure' and it is always good as a compositor to learn more about cameras. When you deal with such things as lens distortion and camera tracking within compositing, it is clear this is one of the areas one must understand to be successful in the area. At least three of us need training to take this particular camera out. So myself, Alan, Jeppe and later Michal will have been trained, which is more than enough.

I feel that compositing and VFX is the combination of such things as general animation, physics, composition and photography. So it is activities such as this which will eventually lead to me having a very good basis of compositing within filmmaking.
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Other than this, essay writing, presenting, science visualisations and the 'private' Going Live project, I have begun on the collaboration on the factory shot for Conjure with Lina Ivanova after I touched up the storyboard and pre-vis and created concept art for it.

Here are two particular references:

Hugo (2011)

Station Park

This is the rough concept art image:

Other than even this, I have started to take footage/plates from an old project of mine in order to test out some compositing and tests for 'Conjure'. The pre-production and especially production for this project is a heavily collaborative process, which allows me to work on my specialty. That is a reason why myself and Lina are producing the factory interior this semester.

We shoot Conjure in May, and I will be conducting compositing within Nuke for those VFX shots, neglecting detailed editing and sound (even though I am not doing this) until after the programme ends - possibly submitting and displaying at the Masters Show merely those VFX shots achieved. (This theory of my final output has become a concrete thought now, considering similar posts previously.)

We are, and myself especially, excited about the project and the upcoming shoot in May. In early April, we will commence detailed planning and even fundraising. It is definitely looking good (touch wood).

Upcoming: Full pre-vis No. 1 (currently just a few more scenes to cut); VFX background replacement test in Nuke; and updates on the factory setting layout and composite tests...

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.

Projected Film Techniques

The film script we have written states that there are interior environments, and one exterior, which are abandoned and derelict in look. This is projected to be created by a live action shoot and compositing photographed wall textures from derelict settings onto cards after tracking, etc, all within Nuke. The photography will be executed along with cinematographer Michal Zagorski. After the tutorial with lecturer Jin Zhi on Friday the 25th of January 2013, the techniques have become more clear - particularly when to apply lens distortion and how to use tracking and roto nodes.
This is for the shots within the living room especially, within the imagination sequence. When he returns to normality the living room will be the original live action plates, simply colour graded.

There is another shot or two where the environment will have to be created fully in CG. This is where I will collaborate with my classmate Lina Ivanova. The character will be shot on green screen to later be composited into the scene. I will be using my practiced techniques I used in Test 1 in semester 1, and I will take my experience from that to hopefully make a better result.
For example, the first things I think of are; moving the camera and setting up tracking markers on the screen to then track and take the camera into the CG environment; keying within Nuke; putting lens distortion onto the CG environment render probably from shooting a grid with the camera, or shooting a structure for lines, or I might be advised to use another technique.

The other main technique will be the shot in which both brothers are seen conjoined in one shot - from behind. This will be achieved likely with a double. The shots before, or even after, this shot will show both brothers in separate shots talking to one another whilst the audience still do not know they are conjoined. It may at this point seem like schizophrenia.

These are my thoughts at this point in time. I look forward to working on all of these techniques and I have a clear idea of the project's schedule, especially now that I have a very clear film script. More on this later.

Fleshed-out Script (Update)

So, the script writing process has had me sat down in lively and productive exchanges with collaborators Jeppe Nielsen, Michal Zagorski and Mark Grossi on a couple of occasions. We were basically letting the noggins re-enter the world of the story and tie up all of the lingering issues or thoughts and get a full narrative together using the fairly complex material we had already. It must be said that after two mornings doing just that, and touching up the document in Celtx afterwards both afternoons, we are pleased with the clarity we have at this stage in the script. It just needs tweaked and tweaked, little by little. Any impracticalities or deeper issues will be ironed out, and the piece needs visualised concretely in terms of cinematic shots, shooting locations, scene transitions, the compositing effects explored and the likes. It works as a story first and foremost. So, the next stage is simultaneous script tweaks and storyboarding. Then getting the cast and crew locked before we shoot in May. 

The script I feel is at a stage to share with peers and such for feedback:

Here is the link to view the script on Google Docs (how very lucky are you?) Go on. Have a 'sneak peak'.

Reflection on practice: The plot has a fair amount of twists and turns, but I still feel it is simple and short. In our meetings I always drum in the idea that I am one guy, and can only produce one guy's amount of compositing effects. I wanted to have say three 'main shots' and a limited number of techniques I will focus on in my masters, using this piece. I feel we have produced a script which supports this study plan.

Although, the storyboarding stage will formalise the techniques required and therefore the test shots which are next in the production line along with storyboarding.

We shoot the plates in May. I will then produce as many of the compositing effects required until the end of the programme. Some shots will require no post effects, other than grading. I will display what I have and update my showreel. The shots will work as complete images which hold story in it's composition. This stands as a piece of academic and visual effects work in itself. If there are still shots left or re-shoots to co-ordinate after that then we can continue on with the project succeeding the end date of my masters degree. That is how we work. 

Considering the collaborations involved, and somewhat additionally my prior experience in the field, the roles of this project are well shared and spread at the moment, for me personally. I believe myself to be simply a compositor with a hands-on attention (okay, a heavy one) to the shots he will be compositing.

After doing too much leg work in my previous student film 'My City' where I dug myself a deep hole and had to study and re-write my way out of it (to improve the film) I believe I have a good idea of the essence of what is important to make a film effective, simple and correct and where detail is needed to be spend developing and working on. This means I don't waste as much time, and ultimately feel I will make a better and more audience-orientated piece (moving on from kind of art animation films.) And, I feel I am collaborating in the correct areas and currently developing a bigger crew so the standard of professional practice in my process is progressing.

Storyboard 1

Here is the first full storyboard:

So, these are the initial/still-basic ideas for the film's sequences (if you can make anything out). It is likely, and hoped, that they will develop substantially. 

Some of my aims in the storyboarding process are:

• To tell the story with 'pure cinematics' in showing the character's thoughts through them anticipating and reacting to events and what they see
• Creating a 'film noir' feel through the visuals - smokey and shadowy
• Reflecting parts of their possible character history and thoughts such as a pampered childhood, sharing and not owning, surgery, work - as well as the initial and real setting of an abandoned factory 
• Avoid cliches by creating visually the situation people would not expect
• Make choices of things that are achievable, both with budget and time, as well as specialist roles available
• Show the character to be slightly useless (or even a little clumsy) as well as looking for their brother, as this is their specific characteristic as well as desire.
• Make good use of cinematic conventions (such as shot types and movements, and axises) to aid the story and even homage to other films
• Make sure suspense is built, or comedy is delivered at the right times
• Create a vision of the character as possibly self-destructive in nature.

In order for these to be achieved, I need to develop this storyboard and then open it up to my collaborators for debate and development (in the next few weeks to a month), as well as do more research into siamese twins and techniques (these will develop more in semester 2).

Main Project | First Draft Script

EXT. FIRST DRAFT SCRIPT 

(click to go to Google Docs)

Concept Sketches - Main Project

I have sketched up some of the concept thumbnails a little bigger to illustrate the ideas behind the shots I posted up last week a little clearer.

Here are the pages at the moment:

The notes are on the sketches here, as well as the post from last week, to give you an idea of what we hope to achieve. Time will also develop the techniques we will employ, even though roughly we have an idea at this stage. 

It is a piece totally based on technique - even when writing, it is all about character and pure cinema. But, the main focus for me is storytelling through compositing techniques - creating cinema-based images to tell this interesting and fairly simple story.

I may draw these sketches up in Photoshop to a more sophisticated standard this week, or some time after that/after assessment (as I believe it gives one an idea of the progress). 

Development will continue for some months now, along with test shoots and effects, so keep staring at your computer screens (without changing this tab...)

Main Film/Project | Action Details and Team Update

I have blocked out my initial ideas of how I feel the story should unfold, in actions, as well as some shot ideas. I have spoken about this with Michal Zagorski and he has added a few more ideas. He will add more, and we will both meet with Kyle Wilson over the coming weeks and months and really develop it further from a technically implementing it view (even with other individuals who will be involved in supporting the art direction and continuity aspects, or costume and make-up, for example).

Next semester we will run a few trial tests for the shots and effects and get the final shoot wrapped nearer the end of that semester. I will also implement research into my chosen areas of study for this film.

Action/ rough shot ideas:

• Close-up - Protagonist talking to someone (his brother) who is not seen
• Jump cut. Wide shot - Protag standing alone on the street, talking directed at no one. Isolated
• He seems to believe the person has run off, unbeknown to the audience
• He runs through a doorway from the street
• Appears into, and looks around daunted, a large fairly undefinable interior (a mixture of settings - home, office, station/public place, hospital)
• He looks to the side - at a corner - and then goes around that corner, walking with direction and curiosity
• Extreme long shot - POV - He sees someone/the person in the distance, from behind - that person runs/walks around a corner casting a shadow behind them (we do not see the side of their body - it is cast by a wall, pillar or other structure)
• He shouts "Simon!" … " "
• He follows them, then we see a long corridor with a door disconcertingly at the end, very small. Focus is pushed and pulled
• He makes his way to the door in a direct fashion, seeing home furnishings along the way - which weren't visible in the previous long shot
• POV - he opens the door - It reveals a large (or small. Undecided) interior full of office furnishings such as desks and tables and lamps, and one man at a desk working (only lamp which is switched on is shining on his desk), with a fairly blank expression on his face (Wide to medium shot as character approaches  them). An older man. There is a door seen at the end of this room. (the room resembles both an office and a home)
• The protagonist asks if this man has seen his brother, as he is looking for him, and he believes he must have gone this way
• The man replies "You have to look after each other" and confuses the protagonist
• He makes his way passed the old man and towards the door at the end of the room, not even thinking about turning back around
• Extreme long shot - chasing a shadow from the right side of the screen/interior to the left (the room resembles a hospital or public place)
• He makes his way through a corridor of doors of multiple colours. One door opens then there is another one, then they all open themselves/automatically to reveal endless amounts of doors
• He makes his way through all of the doors flying around and at him, and eventually after building pace, he finds his way out of the door in which he entered the interior through, leaving him on the street he started at
• Close-up - He is thinking and still panicking slightly, he looks to the side, and relaxes and shuffles a little, maybe tickling his nose
• Medium-Wide shot - The camera cuts out again. This time he is standing with his conjoined twin brother who is chatting up and flirting with a girl on the street.

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The team (initial hopes):

Producer - Fraser Murdoch

Directing - Fraser Murdoch, Kyle Wilson

Concept - Mark Grossi, Tom Paxton

Writing/storyboarding - Fraser Murdoch, Michal Zagorski, Kyle Wilson

Cinematography - Michal Zagorski

Make-up/costume - Jill Sime, Jillian Crabbe

Sound/music - Arek Draiurzynski

Technical advisor/technician - Matt Cameron

Art direction/continuity - ___

CG Modeling - Lina Ivanova

Compositing - Fraser Murdoch

Research (MSc) - Fraser Murdoch

Actors - Joseph Hood, (and an actress, maybe Alona Kiricenko)

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N.B. JUST TO MAKE THIS VERY CLEAR, I AM MERELY A CO-WRITER AND CO-DIRECTOR, - SO I AM EVEN SHARING THESE ROLES. MY MAIN ROLE AND FOCUS IS COMPOSITING, AND THE PROJECT REVOLVES AROUND COMPOSITING TECHNIQUES TO TELL THE STORY.