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.

Production Graphics of The Un_Reel

This Image is a illustrative graphic which explains the overall concept for the film. When read from left to right is portrays the stages involved when ingesting architectural space through imagery and representation to the point where the two can not be distinguished from one another and result in a hybrid world of representation being formed. The hybrid form combines the virtual and the analogue to produce experiences of space as a state of mind that grows out of the imaginary!

Centrepoint Vista

The overall vista of London fromt he top of the newly extruded Centrepoint means that The Man now becomes aware that this phenomenon is not only something that he is experiencing. It is a concept of experiencing space which is city wide, if not worldwide. The towers are other versions of the cubicle spaces that are working away at delivering the various spaces required for all other users of each of those towers.

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.

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.

Backstage

The rear of the film studio shows how the panels of Oxford Circus are simply made of timber panels with the fronts painted by matte painters. They are hung from mobile hoists which enable the production crew to fully erect the large scale matte panels.

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.

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.

Initial Edit

This is the initial edit of the opening sequence, of what will hopefully be, a fully edited version of Creator's Camden.

The edit begins to show how existing fabric can be manipulated by anyone who chooses to. Obviously I am manipulating the space in a virtual and notional manner however, the concepts and principles follow those of which may be demonstrated in film production in general.

On a narrative level the edit also starts to show how one person can begin to make various decisions as to how they see their world and what they may choose to believe what is real and what is fictional. The way in which we perceive built space is very much subjective. It is this subjectivity that leads to individuals integrating with space in different ways. As this edit stands at the moment, there are only a hints at how we may begin to manipulate space.

I will keep developing the narrative and the imagery with the intent of beginning to illustrate how space maybe formed with us as the creator's of our own non and fictional inhabitation of space.

Creator's Camden-Initial Edit from Richard Young on Vimeo.