It took a while but I'm more and more convinced this could work. This is a simple Playblast in viewport 2.0 lighting, and some color correction. If you're a lighter, compositor and have any input please feel free to leave a comment. And here are snap shots from the process:
A while ago I started this "favorite short" posting where I post and blog about short films that inspire me and make me angry. Well, it's about time for another one of those posts, and to make up for the wait I decided to post two of my latest favorites; First one is "June", directed by John Khars, and while I HATED his "Paperman", I love what he did with June.
I was very fortunate to be introduced to Chip Kidd. He's a world renowned designer. Book-cover designer to be specific. Some of his work includes the covers of David Sedaris's "When you are engulfed in flames", Dave Gibbons's "Watchmen", and Haruki Murakami's "1Q84."
He is also a Batman fanatic; His apartment is covered floor to ceiling with Batman memorabilia, art, toys, you name it!.. Here's a little sampler:
The one and only William Joyce.
Unexpectedly, he asked me to contribute to his Batman Black and White Project. This was the most humbling, exciting yet frightening request I've ever been asked. As you may expect the other artists that contributed to his show before are utterly the living masters and superstars of illustration. No exaggeration. No pressure!
After hitting a wall I decided to bounce some ideas with the man himself, and what a breath of fresh air that was! It made me hate EVERY "director" I worked with in commercials.
Anyway, without further ado, here's my contribution to Batman Black&White:
I really like the way Viewport 2.0 displays lights, shadows and colors. I was also just introduced to the new ShaderFX in Maya 2015 and this looks like the way I'm going to render out the rest of the short film. I don't know how that will be done yet, but I'm sure it'll be fresh. Here's an example straight out of Maya Viewport.
One thing I will have to figure out a better way to do is the depth of field. It looks real bad in Viewport 2.0.
So I hit a wall working on boards. I just can't come up with my next board, so I switched gears to color scripts, something I've never really done, but what the hell!! the point is forcing myself to think about the story from a different angle; color.
Haven't finished my first pass animatic yet and I already hate some of my shots. You'd think you know what you're going for, you put it together in a timeline and nothing sticks or grabs your attention, and that's really what this phase is all about. Here's a reworked composition from this week:
Still at it. Last week, and with the help of the producer Steve Intrabartola a great progress happened on the character modeling side of work, and I got to revise some of the shots (deleting redundant shots, tightening the timing on some shots). This long Labor Day weekend I had the opportunity to roughly layout the fairground just so I can start planing and figuring out the choreography and the camera angels that go with it.
Now that my thumbnails are all done and the film actually plays out "well enough" in my head, I moved to the computer (TVPaint and Maya) to work on the animatic; and since everything about this film is different than the old film (The type of story, medium and style) then why not a different approach to prerpo too?
Well, to make things a little tighter this time around I roughed out my compositions and cameras in a CG placeholder set, which freed me to further explore and flesh out the acting choices in a very early stage in the process.
It takes me a while to move out of one mental space (old film idea) and jump into an other (coming up with a new short film idea), but I finally did it.
Just last week I finished the first draft storyboards for my next short film. This idea I had for a while, in fact, I planned and shot parts of it in live-action but half way through it I stopped, well, it was more like I failed.
Dealing with untrained kids acting with untrained animals all in one film on a live action shoot proved to be quite the difficult task, and at times an impossible one, so I decided to go the rout I'm more comfortable with, animation.
Here are some of the sketchbook rough boards and first draft CG cameras.
Out of boredom I came up with this random idea: what if we give a bunch of animators 24 hours to animate a 24 frames ping pong shot? Sure enough, after bouncing the idea around and getting a positive response I created a set with two rigs and two cameras and... well, you get it.
The long lived dream of starting my own production house is taking its first baby steps towards becoming reality. My friend and partner Robert Cavallo and I are proud to present you with Butcher Block Studio. Please check out our official website and reel and help us spread the word.