Cereal Boxes

The green-screening done yesterday will hopefully be composited on two cereal boxes, one in the first scene, one in the last. I tried to create similarities and slight differences in the designs of the cereal boxes as they were different products from the same brand. Looking at the colours surrounding our short film, using a mix of muddy colours seemed fitting whilst also giving a slightly retro-future feel. Ultimately the hologram should be the main focus, so the overall design shouldn't distract.

The props were made by printing these designs and glueing them to existing cereal boxes. Whilst this is not the most solid way of creating them, it seemed the most practical in the time I had (we are hopefully shooting tomorrow). Luckily as we're going for a battered 'junk' theme, the slightly frayed edges/scruffy elements should play to our advantage.

Green-Screening

The cereal-boxes in the film are to have a guy advertising on the front of it (as previously discussed and designed here: http://lj-dfga.blogspot.co.uk/2014/04/cereal-box.html). This is going to be the same guy, but on different boxes. As Luca and Tom were location scouting, I offered to do the green-screen for this with Ryan who kindly acted for us (again) and needed the green-screen for his own project. 

It was a simple set up, by facing the pop-up green screen at the window we were able to use natural light which provided a relatively even light. As the shots are going to be heavily edited to create a 'hologram' effect, the main concern was for the green-screen to work, the overall quality of the shot (this was not shot in RAW) hopefully won't be noticeable. 

To record audio we used a rode mic, which has seemingly worked alright and keeps with the performance. Doing it this way allowed it to be done quickly and without much hassle. This was enjoyable to shoot and saw the first real use of dialogue (not including 'voice-overs') in the film. We had a little time to play with performance and ham it up, as he's a seedy salesman. 

The flat light made keying out the green-screen very easy in After Effects, so I am confident the footage will be easy to use in the final shot. 

Making the Robot Head and U1's costume

Though the robot's head is meant to literally be a cardboard box, I felt that it should be made rather than actually using a box. This allowed a little more control in it's design and strength. Initially I made a prototype in order to work out the structure and sizes (shown above). 

Then refined these measurements to create a net. The cardboard available wasn't big enough for a full net, so the front, side and top are connected and the back section is a separate panel. This allowed the front of the box-head to appear a little smoother, as if it were a whole thing. The net was intentionally slightly sloped at the front to achieve a slight asymmetrical look.

To distinguish it a little from 'just a box' and give it a little personality and age, I added eye bags. This coincided with the designs I had done previously. This was done with cardboard and then paper-mached over with brown paper, giving a slightly sunken feel to the eye holes. The box had tabs and flaps in order to cover the neck and attach to other pieces.

To secure the box to the head I fixed a headband inside and added a few extra panels to strengthen it. 

Overall U1's costume is very similar to it's design. By spray painting the high-vis jacket to look a little dirty, the overall grimy effect was achieved without having to spoil clothes that were borrowed.

Storyboarding...

Due to a tight schedule we decided upon the shot list a few days before shooting. This drastically effected the time I had to create a storyboard, roughing out the shots at the time, then rendering them nicely later that same day.

Rough notes whilst going through shot list

In 'Storyboarding Essentials' it is stated that drawing to the same ratio that the film will appear in is helpful, I decided to try this out. Whilst this wasn't being used as an animatic, etc, it did allow a level of consistency in the drawings, (unlike the slightly inconsistent frames drawn in the rough notes above).

Final Rendered storyboards

Whilst the storyboards gave us a rough idea as to how the shots would look, it transpired we mainly referred to them as a 'shot list' on the first day, rather than following them perfectly. Therefore it didn't seem time effective to draw more for the next day if we were not to use them at all. In hindsight we probably could just have referred to the rough notes/shot list, rather than needing a 'rendered out' version.

Rough fillers for an edit or reference before we shoot on location

Dressing the set

The set consisted of two walls, one with a 'functional' door, and one without. Once these were built we painted them white as a base layer, in order to match the real walls we were using.

Once these were built and coated with a base layer, we needed to muddy them up in order to give it an old run down feel. By mixing a few paints together and applying them thinly to the walls with paper towels or a sponge, I could build up layers of dirt in order to give a 'lived in' feel. Scratching and sanding the walls also helped add some texture to this.

Flowers

Whilst the set initially is very minimal, it slowly (through the narrative) builds in clutter and 'junk'. An idea, as seen in some initial concept art, was for U-1 to try and fashion nice household things out of junk, such as some flowers.  To create these I used drink cans and cut petal shapes out of them, twisting and folding them into shape. Then I attached them together with wire, and added stems and leafs. By using metal material originally, we didn't have to worry too much about faking what it was made of, only having to spray paint the backs of the petals in order to hide branding of the cans.

Other Props

Other props included a rug, made from parts of jeans and other materials. This took a lot more time than anticipated, but gave a rough handmade effect.

Poster design

I think set dressing and extra detail in design are important in selling the overall environment. Therefore I thought we should have at least one poster that illustrates the 'world' a little, or at least supports the script. Therefore I thought I'd do a simple instruction poster to explain the basic principle of the relationship between Jenny and U1, as this is one of the key elements of our film. Whether or not this would be fully shown on film was irrelevant, it was just to add a little depth.

Moodboard/Reference

I wanted clean silhouettes that could be quickly identifiable, so therefore toyed a lot with how Jenny should be represented etc. This coincided with the design of Jenny so was dependent on what we built. Ultimately the simpler the design, the clearer it was. So U1 was simply a box head (as he is anyway), and Jenny a rectangle .

The final element was to dirty and rip it up in order to make it seem old, and in-keeping with the rest of the set.

Thinking about Colour

Initially I had been looking at reference that uses reds and browns to create a rusty/dirty effect, as I felt this corresponded with our 'junk' theme well. However due to the subject matter there is a slightly concern it could seem too similar to Wall-E. Also, there is meant to be a 'lack of warmth' in the room our robot character inhabits which may not be shown as clearer with this previous colour palette.  If we were to go completely 'blue' though, there is a chance it could look too 'high-tech' and cold, as well as losing the battered and cardboard style. Instead, I've been thinking about trying to adopt a more grungy colour style, with off greens and yellows (such as the colours used in Fight Club).

I've adjusted the colours of some concept work to see how this would feel. Overall I think the colours leaning more towards the greeny/blue spectrum work best. The colour design of the set and props should follow this, they should also be a bit run-down and desaturated.

Dispenser

The 'Dispenser' is meant to be linked with our robot-character, it is it's true 'companion'. However, this doesn't necessarily mean it has to take a humanoid form. Most of the warmth and 'companionship' it is meant to be offering will hopefully be achieved in the way it is interacted with and it's sound design. On development of the script, the Dispenser is no longer just there to charge the robot and now serves as a recycling unit. This hopefully gives a more dependent relationship between the dispenser and robot, therefore I feel the design should be slightly similar to, or at least take elements from, the robot-characters design (head). 

Moodboard

I'm a little wary that the whole film could seem a little like Wall-E, therefore aim to create (or at least try) and create a visual difference. (This will also hopefully be achieved by differentiating the colour design, - despite previously referencing it in this blog). Since we are limited with budget etc, we are using what we have. This includes a microwave that can be used as the area where junk is recycled in the dispenser unit. I've therefore designed around this, thinking about how it can be incorporated.

We've discussed having a 'screen' or something that will be composited in post-production, whilst this will help give the 'futuristic' and 'technology' vibe of the dispenser, I'm a little hesitant to involve too much CG. I've included a small screen in the design, however this could perhaps be ditched and instead the black oval could serve as a 'screen' if needed.

By adding a cardboard texture/element to the dispenser I'm hoping the link between the robot-character is clearer. This is also hopefully mirrored by the simplistic square design. I'm aware overcomplicating things could confuse the viewer if it is not made clear, therefore stickers/branding logos etc added to the design will hopefully help. Again, the sound design for this particular 'prop' is very important.

Cereal Box

One of our opening shots involves a discarded cereal box with a futuristic/hologram style advertisement that directly addresses the character. This would be something we film and comp into the shot, it's intention is to establish a slightly futuristic/technology-developed setting as well as the 'tone' of the film. The concept is similar to that of the game show host in Requiem for a Dream (who talks through the tv) and therefore advertisement-wise, we are playing with the concept of a cheesy-host character that is advertising the cereal, a character that looks a bit seedy and acts quite hammy and over the top.

MoodBoard

Sketchbook

I like the idea of it being blue/quite muted but glowing colours, as it will (hopefully) clash with the outside/junkyard exterior, that would have slightly 'natural' colours. The lined-screen should flicker and seem a little distorted, as if used and broken, as it is meant to be discarded. The scan lines can further flicker and break once it is stepped on (which is the intention in the film). Ideally I'd like the image itself to be a little distorted (with sound to fit). 

Mannequin Companion.

The companion of our robot-character is to be built by him, however it needs to be simple and easily identifiable. Therefore the idea of using a mannequin, and putting a box on it's head, seems appropriate and achievable within our budget/time constraints. Whilst I like the design of it having no arms or legs (so is pretty much 'useless'), we are being flexible, and will use what is accessible to us. The 'box head' hopefully clearly illustrates a link between the character and it's attempt at creating a companion, it is trying to make itself so it should look in someway similar. He draws on a face, so this should look rough and almost child-like. A very 'cliche' idea of beauty.

The robot-character could also come across as quite bashful, and realise the mannequin is naked so try and clothe her in over-size shirts etc. This'd offer a little humour as well as further the idea that he is trying to make a friend/companion and is focused on the idea of it being 'real' more than anything else, (e.g an object of attraction).

Edgar Wright

Edgar Wright and the Art of Close-Ups from David Chen on Vimeo.

Like most people my age interested in film, Edgar Wright is a massive influence. With the release of World's End over summer, came a couple of interviews I found really interesting, especially this one between the cast, Edgar Wright and Peter Jackson.