Brother Thomas Film Blog
The second half of CG Layout is all about blocking. That means the placement of characters and camera in 3D space which includes both motion and timing.
The GIF file above shows how the 2D Animatic was translated into 3D Layout. Knowing these changes will be a huge help when it comes to setting up the stop-motion shoot.
In this shot the camera cranes up while Br. Thomas climbs a stack of holy books in order to look out of a very high window.
Gracie’s version of Br. Thomas shows the flustered monk, as usual, late for work and running past one of the Church Fathers with the blue Dragonfly in hot pursuit. In the film the statues never show signs of life, only perceived judgement and long shadows. I love that in Gracie’s version, it seems that the statue and the dragonfly have an understanding about Br. Thomas.
Click here to see more images in our Guest Artist Gallery.
For the fourth shot of the film (the first actual stop-motion shoot) celebrating the details in nature plays a huge part in helping to shape the world Br. Thomas lives in. Dew drops seemed the perfect element to establish scale and that early morning feel . . . which is harder than it might first appear!
So here are some pictures that catalog the caterpillar’s progression “through the lens” of the camera.
Starting with the original storyboard image to paper mock-ups and rough models, right through to the finished puppet.
Building a caterpillar to look directly into the camera lens is tricky business.
This is also the first stop-mo shot we’ll be producing and the forth to show up in the film. What happens in this shot sets the tone for the rest of the film.
Over the past few weeks Katy Seymour and I have been working in front of the camera with plastic plants, paper cut-outs, and a variety of materials to pull off the feel of macro photography.
The film opens with a handful of super close-up nature shots to give a heightened sense of detail, making us feel like everything is magnified x10.
Read about Katy below and pick up more on our process by clicking on the production images. Read more…
This spring Abi Freeland has been working closely with me on color scripting the Br. Thomas film and I couldn’t be more pleased with the results!
The Color Script is a road map for the entire production. Once complete it will ensure that lighting and set designs for each shot will play to the larger emotional themes in the film.
This is an early snapshot of the role color plays in Br. Thomas. You can see from below how far we’ve come in just a few short weeks. Which means there will be plenty to post in the future!
A huge thanks to Josh Addessi who’s been chiming in to keep us headed in the right direction.
A major design element in the film is the “Grand Mural” that is eventually unveiled in the final scene. It is the major source of light in the scriptorium and central to the look and feel of the room.
This first image is my original drawing of the Madonna, the Christ child and the stained glass saints as Br. Thomas encounters them in his daily routine.
This second image is concept art by my friend Michael Spooner. Not only does Michael’s drawing open up the space cinematically but it also gives us an idea of how the final unveiling will eventually effect the interior space of the scriptorium. Read more…
Getting the physical castings of the Br. Thomas’ mask and head base into the digital environment is the job of our 3D laser scanner. Looks very sci-fi doesn’t it?
Once fully scanned into the digital environment budding CG Artist/Technician Alex will have to retopologize the mesh. That’s CG geek talk for rearranging the wireframe from a strict honeycomb-like structure into something that will facilitate bending and sculpting for our animated expressions. . . but that’s at least a whole other post.