Tuesday 24 February 2015
Drumming Apsara
Another sketch study from a recent trip to the British museum, looking at the decay and damage caused over time, really hard to try and capture!
Monday 23 February 2015
Dancing Ganesha
Dancing Ganesha, South Eastern Vittar Pradesh, North India, Approx AD 750.
Sketched this beautiful Lord Ganesha Statue on a recent visit to the British Museum - decided to Paint over as practice for values as well as develop a style for my ongoing personal project.
Sketched this beautiful Lord Ganesha Statue on a recent visit to the British Museum - decided to Paint over as practice for values as well as develop a style for my ongoing personal project.
Thursday 19 February 2015
Temple Guardian WIP 02
Heres an update on my temple guardian sculpt, rendered this one out in keyshot as opposed to Z Brush to see how it came out, added some filter effects in Photoshop.
Monday 9 February 2015
BAFTA FILM CRAFT: THE SESSIONS 2015
Through my membership of the 2014 BAFTA Crew and my BAFTA Scholarship I was fortunate to be invited to the ,BAFTA Film Craft: The Sessions' 2015.
The event was organised the day before the 2015 BAFTA ceremony, as the speakers were all nominated for there respective feilds and were in London for the ceremony on Sunday the 8th of Febuary 2015.
There were four pairs of talks and I chose the following:
11.30 – 12.30 Special Visual Effects - Jonathan Fawkner (Guardians of the Galaxy, The Dark Knight) Paul Corbould (Guardians of the Galaxy, Thor: The Dark World, Skyfall) Stephane Ceretti (Captain America: The First Avenger, X-Men: First Class) Tim Crosbie (The Wolverine, XMEN: Days of Future Past, Harry Potter and the Goblet of Fire) Joe Letteri (Dawn of the Planet of the Apes, Avatar) Andrew Lockley (Interstellar, Rush, The Dark Knight Rises) Paul Franklin (Interstellar, Inception)
13:00 – 14:00 Make-Up and Hair - Peter King (Into The Woods, The Hobbit: The Desolation of Smaug, Nine) Morag Ross (Hugo, The Aviator, Sense and Sensibility) Elizabeth Yianni-Georgiou (Guardians of the Galaxy, Thor: The Dark World, Dark Shadows) David White (Guardians of the Galaxy, Maleficent, Snow White and the Huntsman)Jan Sewell (The Theory of Everything, The Riot Club, The Double) Kristyan Mallett (The Theory of Everything, ’71, Guardians of the Galaxy) J. Roy Hellend (Into The Woods, The Iron Lady, The Hours) Lesa Warrener (Mr Turner, The Fifth Estate)
15.00 – 16.00 Cinematography – Robert Yeoman (The Grand Budapest Hotel, The Life Aquatic with Steve Zissou, The Royal Tenenbaums)
16.30 – 17.30 Production Design - Eve Stewart (The King’s Speech, Les Miserables, Vera Drake) Suzie Davies (Mr Turner) Charlotte Watts (Mr Turner, Bright Star)
The most striking and surreal part of the day was being in the company of such outstanding industry leaders, I was literally feet away from the artists working on some of the highest quality cinematic productions of the last few years, my tiny little mind was blown.
I was reassured to hear that amongst the technically driven VFX Studios such as Double Negative, they actually retain there own micro concept art department to accommodate the inevitable overspill of new requirements that appear long after the pre production art department have finished their duties, This gives me hope as a practicing generalist.
During the make up and hair session I had the opportunity to ask how the advancement of 3D printing was playing a role in prosthetic's, it was good to hear that amongst these industry veterans who rely predominantly on traditional techniques they acknowledged the growing presence of prosthetic parts more commonly being produced in 3D and printed to fit the actors profile, as opposed to the traditional approach of sculpting, casting and hand rendering. Although there was an emphasized consensus that the core traditional make up and prosthetic skills are at risk of being lost if not accurately recorded and handed down to the upcoming generations of artists.
The penultimate session was a one man insight into the film making of Wes Anderson by his ongoing cinematographer Robert Yeoman, who was one of the most down to earth and relaxed industry veterans I have witnessed. Robert gave us a glimpse into the world of a leading cinematographer as well as a glimpse of the mind set of Wes Anderson, talking about the practicalities and restrictions of film making with regards to cinematography, specifically the setting up of lighting and his own preference for the art of subtle lighting that actually looks like the shot is not lit! Robert mentioned Wes's reliance on animatics as a key aid for reference when filming, I had the opportunity to ask if Wes produces those himself (as with Ridley Scott) Robert commented that Wes sketches out the keyframes and an assistant finalizes the animatics under his direction.
The image below shows my few notes and sketch studies of a some of the nominees:
The event was organised the day before the 2015 BAFTA ceremony, as the speakers were all nominated for there respective feilds and were in London for the ceremony on Sunday the 8th of Febuary 2015.
There were four pairs of talks and I chose the following:
11.30 – 12.30 Special Visual Effects - Jonathan Fawkner (Guardians of the Galaxy, The Dark Knight) Paul Corbould (Guardians of the Galaxy, Thor: The Dark World, Skyfall) Stephane Ceretti (Captain America: The First Avenger, X-Men: First Class) Tim Crosbie (The Wolverine, XMEN: Days of Future Past, Harry Potter and the Goblet of Fire) Joe Letteri (Dawn of the Planet of the Apes, Avatar) Andrew Lockley (Interstellar, Rush, The Dark Knight Rises) Paul Franklin (Interstellar, Inception)
13:00 – 14:00 Make-Up and Hair - Peter King (Into The Woods, The Hobbit: The Desolation of Smaug, Nine) Morag Ross (Hugo, The Aviator, Sense and Sensibility) Elizabeth Yianni-Georgiou (Guardians of the Galaxy, Thor: The Dark World, Dark Shadows) David White (Guardians of the Galaxy, Maleficent, Snow White and the Huntsman)Jan Sewell (The Theory of Everything, The Riot Club, The Double) Kristyan Mallett (The Theory of Everything, ’71, Guardians of the Galaxy) J. Roy Hellend (Into The Woods, The Iron Lady, The Hours) Lesa Warrener (Mr Turner, The Fifth Estate)
15.00 – 16.00 Cinematography – Robert Yeoman (The Grand Budapest Hotel, The Life Aquatic with Steve Zissou, The Royal Tenenbaums)
16.30 – 17.30 Production Design - Eve Stewart (The King’s Speech, Les Miserables, Vera Drake) Suzie Davies (Mr Turner) Charlotte Watts (Mr Turner, Bright Star)
The most striking and surreal part of the day was being in the company of such outstanding industry leaders, I was literally feet away from the artists working on some of the highest quality cinematic productions of the last few years, my tiny little mind was blown.
I was reassured to hear that amongst the technically driven VFX Studios such as Double Negative, they actually retain there own micro concept art department to accommodate the inevitable overspill of new requirements that appear long after the pre production art department have finished their duties, This gives me hope as a practicing generalist.
During the make up and hair session I had the opportunity to ask how the advancement of 3D printing was playing a role in prosthetic's, it was good to hear that amongst these industry veterans who rely predominantly on traditional techniques they acknowledged the growing presence of prosthetic parts more commonly being produced in 3D and printed to fit the actors profile, as opposed to the traditional approach of sculpting, casting and hand rendering. Although there was an emphasized consensus that the core traditional make up and prosthetic skills are at risk of being lost if not accurately recorded and handed down to the upcoming generations of artists.
The penultimate session was a one man insight into the film making of Wes Anderson by his ongoing cinematographer Robert Yeoman, who was one of the most down to earth and relaxed industry veterans I have witnessed. Robert gave us a glimpse into the world of a leading cinematographer as well as a glimpse of the mind set of Wes Anderson, talking about the practicalities and restrictions of film making with regards to cinematography, specifically the setting up of lighting and his own preference for the art of subtle lighting that actually looks like the shot is not lit! Robert mentioned Wes's reliance on animatics as a key aid for reference when filming, I had the opportunity to ask if Wes produces those himself (as with Ridley Scott) Robert commented that Wes sketches out the keyframes and an assistant finalizes the animatics under his direction.
The image below shows my few notes and sketch studies of a some of the nominees:
Sunday 8 February 2015
MA Unit 02: Sound Creation and Perception_Briefing notes
The 2nd unit of my part time MA was briefed on the 5th of Feb 15, Sound creation and perception!
Sound is definitely not something I had planned on working in, but it is undeniably a key component to any emmersive experience in film or game. I plan to integrate the unit to my ongoing project and investigate how to create relevant sounds for the environment I am producing, this will include mostly ambient sounds as well as noises of various assets that will appear in the immediate world. The main prerequisite is the fact I need to create sounds that appear familiar but are convincingly part of the alien / science fiction world, this seems like a tall order for my first delve into the subject matter, but if I can identify what I need to produce as well as research and understand how I can go about it then I will be on the right track.
My starting point will be investigating how the sounds of Star Wars (one of my main influences) were created, as well as this I will investigate ambient music that has influenced me in the past such as FSOL (Future sound of London) and Funki Porcini among others. These artists have been able to use sampling of real world sounds and distort them as such to create surreal and ambient music which ties in perfectly with my subject matter. I have been put onto: http://filmsound.org/ which should give me plenty of information to begin my journey into sound!
To tie in with my practical work I will begin the task of storyboarding my short film, taking my random notes and sketches of various elements and beginning to piece them together. This will not only give me my asset list for production but I will have a direct reference of what I need to create sounds for. The storyboard serves as a shot list for the final project and acts as place holders for the key scenes, I am hoping to end the 2nd unit with sounds that match as much of the storyboard as possible, as with the storyboard being a place holder for the final composited short film, so will the sounds be 'initial' place holders unless I am able to get satisfactory results within the unit time frame.
Thought I would brighten the post with my sketch book notes featuring some quick profiles of some MA peers:
Sound is definitely not something I had planned on working in, but it is undeniably a key component to any emmersive experience in film or game. I plan to integrate the unit to my ongoing project and investigate how to create relevant sounds for the environment I am producing, this will include mostly ambient sounds as well as noises of various assets that will appear in the immediate world. The main prerequisite is the fact I need to create sounds that appear familiar but are convincingly part of the alien / science fiction world, this seems like a tall order for my first delve into the subject matter, but if I can identify what I need to produce as well as research and understand how I can go about it then I will be on the right track.
My starting point will be investigating how the sounds of Star Wars (one of my main influences) were created, as well as this I will investigate ambient music that has influenced me in the past such as FSOL (Future sound of London) and Funki Porcini among others. These artists have been able to use sampling of real world sounds and distort them as such to create surreal and ambient music which ties in perfectly with my subject matter. I have been put onto: http://filmsound.org/ which should give me plenty of information to begin my journey into sound!
To tie in with my practical work I will begin the task of storyboarding my short film, taking my random notes and sketches of various elements and beginning to piece them together. This will not only give me my asset list for production but I will have a direct reference of what I need to create sounds for. The storyboard serves as a shot list for the final project and acts as place holders for the key scenes, I am hoping to end the 2nd unit with sounds that match as much of the storyboard as possible, as with the storyboard being a place holder for the final composited short film, so will the sounds be 'initial' place holders unless I am able to get satisfactory results within the unit time frame.
Thought I would brighten the post with my sketch book notes featuring some quick profiles of some MA peers:
Friday 6 February 2015
Revisiting a familiar face...
Back to the source, taking a basic greyscale render of the printed bust as a base to paint over.
Subscribe to:
Posts (Atom)