Brother Thomas Film
Funny story about that caterpillar shot we were so excited about? Turns out to be for the wrong film! 🙂 We got so caught up in making our first shot look convincing that we forgot to consider the role realism would have on the film. Waaaaay too serious!
So back to the drawing board to come up with a more playful, hand-made look for the film. A look that would transport us into a different world and play up the magical qualities of stop-motion. The Ladybug shot seemed like the perfect candidate.
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.
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.
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.