Production Graphics - Chronograms of The Un_Reel

These three images are the chronograms (explanatory drawings) for The Un_Reel. which guide the viewer through the film in graphic format. This group of three includes the chronogram for part one of the film made back in December.

Diagrams

The Cubicles

To realise and place some form of rationale on the feasibility of these experiential spaces each user has access to a interactive booth. Within these booths they will be placed within a multimedia environment. The idea is that each wall of the cubicle will act as visual screens in order to simulate the space in which each user wishes to be within.

The key parameter in this process is that the user will essentially remain stationery and the booth will move around the user. If the user chooses to travel from one space to the next that space will be connected the current space and the user will travel between the two. This can occur continuously. Each time the user enters a new space, the new space is represented on the media screens.

The Metaphysical Cubicles

Opposed to the narrative based realisation of the cubicles that The Man finds himself in there is a parallel system in which the cubicles operates within.

As already mentioned there is the infrastructure in place which means the physical versions of these film set components can be transported and put in place for each user in time for them to physically walk and transist between one space and the next.

Props

Each object that finds its way into the scenes and shots are carefully selected to maximise visual effect and also maximise costs for production. These two images are two shots that group together various moderist furniture. The choice of these was made on the premise that everything that the Case Study Houses stood for in terms of modern living greatly influenced furniture design and industrial design when it came to procuring the houses themselves.

Renders

These are a couple of renders from the film. Although, as previously planned, I intended on keeping the screenplay completely contained with in the 3D modeled environment, I felt that it was more appropriate for The Man to venture out into the outside world (to escape his escapism) that we ourselves are more familiar with. I chose to do this because I felt that with this idea of his synthesized space becoming so hyper real it was hard to decipher the difference between real and unreal and therefore by compositing the computer generated built elements back into real life camera footage it plays on this idea of the two versions of reality being completely hybridized into one experience for The Man.

Case Study House #2781342

The case study house has just been commissioned as a film. It focuses on The Man as the example user of this virtual living concept. The CSH itself will provide the back drop to the screenplay and this constructed set will form an integral part of the narrative structure.

This is an article i found of #2781342

Tests

These are two tests that mess around with the parallax within the scene. One was within the 3D modelled environment and one was within a 2.5D environment. The 3D one enables me to manipulate a lot more within the scene which may be good for playing with the objects of architecture which are embedded within any one of the scenes in the film. The 2.5D method also has merits in that it will help me emphasis the idea of there being a layering of narratives with the film. One level of parallax manipulation operates with in the character environment and another will simultaneously operate on a level above that which ultimately breaks the fourth wall which could occur again and again....

Montage of Spaces

This is just a rendered out version of the sketch montage posted last week which graphically tries to join up the various spaces.

Exploded Diagrams

The Stairs

As he moves from the bedroom to the kitchen, convention would mean he moves through a threshold (normally a door) and enters into the next space. That space in the film is portrayed through two mediums. One which is synthetic to the character and one which is physically logical to us as the viewer of a fabricated film set.

Corridor Scene

The corridor is a transitional space that connects the various spaces such as the kitchen to the archive. Each door is placed with a indicator above that shows whether the rooms are occupied. The rooms are intended to ambiguous notion of each individuals personal dwelling/cell of synthetic space generation.

Towers Scene

After apparently leaving his apartment he enters the so called external world. Firstly he travels on the London Underground and then arrives at his stop. The stop then is revealed as a internal film set and constructed out of a selection of matte paintings and sets on trolleys that are moveable. This allows them to be switched and swapped to cater for the characters need of spaces on his journey to the archive. Once at this destination of the towers he travels up them into the building which the archive is situated.

Archive Scene

The archive is the space in which the character finds himself at the end of each day. The space will feature throughout the film however it will only be features briefly in the beginning. The rationale behind this space is to provide a storage space/archive for each individual to place their personal logbook of spaces that they have remembered and imagined. Once the personal logbooks are there they are reviewed and processed by the synthetic space generators inorder to program the production of spaces for each individuals personal life and experience of their imagined spaces.

CG Version of Storyboard Frame

These are Scene 01 and Scene 03 of the two more significant spaces in the film. The characters 'Safe Haven' of ideal living, his apartment, which is where he eventually wishes to be rid of.

A Few Final Renders from Film - 33a

These are two shots from the interior spaces created in hte film 33a. It is a slight parody on my own activities during the week that we were asked to make the 3D modelled film. I found myself so engrossed in experimenting with the 3D modelling program that I decided to make the film as I felt.

Inhabited Canyon

On 'Jed's' journey he ventures into the deep canyons created by the multiple Centre Points. As he explores further it becomes apparent to him that only what he sees is actually constructed. Finding himself to the rear of the film set unveils that all the buildings are only partially constructed.

Following his nose he ascends into the skyscrapers to find that the spaces within these high rise studio constructions are actually inhabited. The internal organs of these buildings have functions and facilitate studio upon studio that are either the remanence of past film productions or studios in full use.

Overall Warehouse Shot

The overall warehouse contains the constructs of the false version of Oxford Circus. The model itself involves faking facades of Oxford Circus with panels that sit in forced perspective and replicates matte painting techniques used in film making processes.

Opening Shot

Over the Shoulder from Richard Young on Vimeo.

The opening shot sets the scene as an ambiguous location with no reference to anything other than the characters location within this room, watching movies.

20101202-Draft Edit

20101202-Draft Edit from Richard Young on Vimeo.

Moving on from the animatic, I began tests of the various shots, and started getting them down onto the timeline. The Opening sequence needs to be tighter and a little bit more punchy. All of the tighter street shots need animation of the various components that I have added to the shots to give the impression of a growing rate of construction in the stage set of London. The CG world sequence needs to be worked into a lot more and carry more weight in relation to the composition as a whole. I think the length is about right and that the sound can start to be developed a little more with more accuracy.

Stills of the London Stage

These stills are shots from the test below. I intend to work into the model alot more and build the idea that this version of London is very much so a stage set that aims to deceive the viewer or user of the space into believing that the space they inhabit is real when in actual fact it is completely developed out of artifice.