The Shoot
Obviously dealing in animation is different from the live world. It was really a similar process to making the storyboard reel except everything had to be finished properly for the final film.

And whilst animating we had to think about getting our actors in and recording voices, recording sound fx, etc.

More complicated than you think.

 
 
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I then worked on the internals in the block first for realism when looking through the windows. I then copied the room and enlarged for internal shooting. This meant I got realistic externals through the window too and minimised copying, etc.
Set Building

I started with the block, copied the existing rooms and then changed how the balcony sits. Then built up the block again and then added surrounding buildings. This took a while and I used the old Hollywood trick of angling streets away so that you don't have to build as big a set!
Challenges

The internals was hard work as there are the odd shots through other storey windows so it's necessary to have some stuff in all rooms! Not difficult, just a long process of placing and positioning stuff - furniture, plants, pictures, etc. I also expanded Miles' lounge so that it looks more realistic and there's more space to film - just like on a film set!

I read that Spielberg introduced the camera moving and then saw some Jurassic Park. Sure enough, it's always moving and the blocking works so that a camera moves through a set as the actor does and the camera gets to a detail (perhaps a close up of the hand) as the actor moves into the space. I tried to apply this to my cameras to make it a bit professional.

I tested specific animations for Suzie and Miles first to make sure I was outputting what I wanted. I then added starting poses for people and cameras and was ready for shooting the Lounge shots.

In order to lip-sync trhe characters mouths I recorded the dialogue and used this in Antics. This on the presumption that it won't change the characters too much once I have the real thing from the actors.

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