As I've been managing rendering and locking down some final shots, I've also been trying to put together an updated pre-vis for music composer, Bruce Reid. This is still very rough and I admit I put it together really quickly since I've been scrambling to get as much work done before Easter as possible, but it's quite a large step forward compared to the first pre-vis I think. I tried giving the shots more time to breathe - so the duration has increased. Right now I think these gaps feel awkward simply because there is no music or sound effects to tie it all together.
I also think the final film will be greatly enhanced compared to these pre-vis videos because I'll be adding in glitch effects that I also plan to use to assist with the shot transitions. I've already begun researching some different glitch effects and how to achieve them in After Effects. Once things are less chaotic with rendering and I have all the footage I need I can really hunker down and focus on tying my film together via editing, visual effects, and sound.
I also think the duration might shift because some shots I'm planning on having glitches jump footage forward (for example, have the sponge only peeking at the bottom of the screen, than glitch forward so it's filled most of the screen). I also repeated some footage by reversing the time so it goes backwards, but I think it would also be useful to create a few more brick/room shots just so I have some variety.
Hey Dee - so, my first instinct is that - prepare yourself! - you should lose the 'static' animation - and instead treat this as another live action interruption - it would feel much more intrusive and difficult if this moment was like an interruption of the broadcast, so you cut to just a full image of static - as I said, I think there's something about putting your footage into perspective - so, the simple way for me to describe that is that you project your footage onto a surface, which you then 're-film' in Maya, with the camera place at an oblique angle to the surface of the projection, so the camera can also track/dolly slowly across these surfaces - like watching a film from the far left or far right of the auditorium - I think this will place the found footage elements 'into' a space as opposed to it sitting 'across' the animation - if that makes sense. These moments don't have to be dramatic perspectivally, and the camera movement could be be minimal, but I think it will keep that slightly 'drugged up/queasy/floaty/disembodied' feeling that your film is creating. Let me know if that makes sense.
ReplyDeleteThe other thing for me... is the colour of that blue ball - before the bleach corrodes it - I think if that was surgically white and reflective it would somehow feel more sinister? This probably isn't what you wanted to hear!