How it started |
How it's going! |
So overall, I can’t say this was the most fun week I’ve ever had, but I can say that picture lock is now pretty much complete- I just have 1 or 2 backgrounds left (depending which route I go down) and the crowd shot to animate- which might take around a day. I think I’ll then go over the film a couple of times to tighten up the edit and make sure it’s all working how it should be.
Despite this week not being the smoothest, I was able to get over a difficult hurdle of a section which wasn’t working. The new way I’ve decided to go about doing it worked out much better, so that feels fantastic to have put that to bed.
I was also given the completed score by my composer Jason Williams, whom I feel has done an absolutely brilliant job. I’ve worked with him for several years now on a number of my films and he always does what I have in mind and then some! The score really enhances the film and it wouldn’t be what it is without it.
Alongside this, I also finally decided what to put behind the car windows when he is driving. I didn’t want to make panoramic backgrounds in a realistic style and then keyframe them, because in my mind I had always wanted them to be sort of abstract. When you’re in a car or train, the scenery sort of whizzes by and it can look fairly abstract anyway, so I wanted to replicate this. It didn’t need to be detailed as it wouldn’t have added to the story. But I didn’t know in exactly what way or how as a few of the abstract ways I tried previously didn’t work. It then came to me- I often work with 16mm film, so I thought ‘well isn’t this quite abstract and also something I like to bring in to my rotoscope work anyway’. There have been numerous test pieces where I’ve used 16mm (or similar) as a background. So it only made sense to incorporate it into ‘Bear’ as well. See below for what I mean:
I was also given the completed score by my composer Jason Williams, whom I feel has done an absolutely brilliant job. I’ve worked with him for several years now on a number of my films and he always does what I have in mind and then some! The score really enhances the film and it wouldn’t be what it is without it.
Alongside this, I also finally decided what to put behind the car windows when he is driving. I didn’t want to make panoramic backgrounds in a realistic style and then keyframe them, because in my mind I had always wanted them to be sort of abstract. When you’re in a car or train, the scenery sort of whizzes by and it can look fairly abstract anyway, so I wanted to replicate this. It didn’t need to be detailed as it wouldn’t have added to the story. But I didn’t know in exactly what way or how as a few of the abstract ways I tried previously didn’t work. It then came to me- I often work with 16mm film, so I thought ‘well isn’t this quite abstract and also something I like to bring in to my rotoscope work anyway’. There have been numerous test pieces where I’ve used 16mm (or similar) as a background. So it only made sense to incorporate it into ‘Bear’ as well. See below for what I mean: