Your characteristic filmic instincts are visible again in your dynamic description of your intentions with this project - and your written summary gives a clear sense of how 'action-y' you want to make it - and I'm all for that. As well as being enthused and enthusiastic, I want you also to be a formidable project manager, and seek out the ways and means to ensure you can complete this film within the timeframe. You're already committing yourself to modelling a mosquito in Maya, but do you need one? For example, if your film were to begin in blackness; and then we hear the whine of a mosquito, and then as the image of the interior of the body fades in, we see at once the proboscis push its way into the body... my point is that your audience would be completely clear as to what had happened, but without you committing time to the modelling of an insect (which is really only a bookend). The end of the film can begin the same way - the proboscis appears, the blood is sucked up, fade to black, and the audience is left with the whine of an infected mosquito in the dark... What I want you to do is think about this project both artistically and strategically - I want it good, and I want it finished, and this means planning your production sensibly in order to ensure you can realise it. Don't model anything your scenario doesn't need; ask yourself if there are more time-efficient ways of staging your shots, how can you 'reuse' and re-purpose assets you've already modelled and textured etc.
When you move into the animatic stage, think like a film-maker yes, but think like a film-maker who is working on a limited budget - but those limits cannot be perceived by its audience. You also need to think about sound design at the earliest stage, as it's clear from your description, that this needs to be high-impact, with a suitably hyper-real sound design to add drama and dynamism.
OGR 06/03/2015
ReplyDeleteHi Josh,
Your characteristic filmic instincts are visible again in your dynamic description of your intentions with this project - and your written summary gives a clear sense of how 'action-y' you want to make it - and I'm all for that. As well as being enthused and enthusiastic, I want you also to be a formidable project manager, and seek out the ways and means to ensure you can complete this film within the timeframe. You're already committing yourself to modelling a mosquito in Maya, but do you need one? For example, if your film were to begin in blackness; and then we hear the whine of a mosquito, and then as the image of the interior of the body fades in, we see at once the proboscis push its way into the body... my point is that your audience would be completely clear as to what had happened, but without you committing time to the modelling of an insect (which is really only a bookend). The end of the film can begin the same way - the proboscis appears, the blood is sucked up, fade to black, and the audience is left with the whine of an infected mosquito in the dark... What I want you to do is think about this project both artistically and strategically - I want it good, and I want it finished, and this means planning your production sensibly in order to ensure you can realise it. Don't model anything your scenario doesn't need; ask yourself if there are more time-efficient ways of staging your shots, how can you 'reuse' and re-purpose assets you've already modelled and textured etc.
When you move into the animatic stage, think like a film-maker yes, but think like a film-maker who is working on a limited budget - but those limits cannot be perceived by its audience. You also need to think about sound design at the earliest stage, as it's clear from your description, that this needs to be high-impact, with a suitably hyper-real sound design to add drama and dynamism.