'What if?' Metropolis - OGR
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'What if?' Metropolis
Computer animation arts
Concept Art
Digital painting
Environment
First year
OGR
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Eternal sunshine of the spotless mind (2004) - Non-linear storytelling
Figure 1. Movie poster (2004) Non-linear methods: Chronicle (Linear storytelling) - The film starts off with a non-linear storytelling method. This is as the audience are unaware as to where they are, who the characters are and what they are doing. The scenes also change suddenly and time shifts backwards and forwards. The story then becomes linear once Joel starts to get his memories of Clementine removed. This is as he is in a dream state trying to stop his memories of her from leaving him. Figure 2. Joel and Clementine meeting Retrograde (Events in reverse order) - This is shown throughout the movie without the audience realising until they are nearing the end of the film. At the start of the film the audience understand that Joel and Clementine have only just met and that Joel and Clementine's feelings towards each other grow, but towards the end of the film it is made clear that not only did Clementine and Joel know each other previously, they were also
OGR 23/11/2017
ReplyDeleteHey Tia,
Okay - if I'm being 100% honest, I think your concept art is more indicative of a 'playground-sized' collection of elements, as opposed to something that feels city-sized and expansive and it's difficult to read these elements as 'architectural' - and by that I mean they're lacking some of the details that a) tell us these are usable and habitable and functional and b) give us a sense of their relative scale to the inhabitants. I don't think your POV is helping, because it's floating up in the air as opposed to putting us down into the space and this is making it difficult for the viewer to experience this space as 'city-sized'. When it comes to creating this set in Maya, I suggest you explore alternate camera placement and also consider using the foreground more dynamically; right now, we're looking into this open space, as opposed to looking through or past other elements, which again would help put us 'inside' this city - as opposed to keeping us floating above it.
What I'd like to see now is you just taking a bit more time to flesh-out your production art for each of your buildings and committing more purposefully to thinking about their actual fabrication and the little details that might help us understand the scale of these elements. I also want you to think a bit more about the way in which the buildings meet the ground-plane - so what's happening at their base in relationship to the entrances, stairs, foundations (all of this will come from closer inspection of real-world examples). At the moment, all your entrances are just these generic 'mouths', as opposed to being designed or incorporated more convincingly - and this level of understanding is really important when you start to think about modelling your buildings.
Just in terms of cleaning up and professionalising your production art and orthographs, you should consider what you've learned in Illustrator re. use of the pen tool and tracing drawings in order to clean up the curves and profiles of your designs etc. I'd observe that, right now, things are a little bit wishy-washy and soft - and while that associates with the mood of your world aesthetically - I do want to see you committing an extra level of detail (understanding) to the realisation of your assets.
Finally, in terms of your matte painting - if you lower your POV you'll find your matte painting will likely change its scope - and I think that, given the sense of using the matte paintings to extend the set, I think you might want to use it to grow the city itself, as opposed to use it to create a woodland scene. The big thing I want to see you looking at is how to create a more credible sense that we're 'in' this world and not just looking at a collection of toy-sized objects. As observed, this relates to your POV, your use of foreground, mid ground and background elements in terms of composition and view-finding, and the role of the matte painting itself. You may find these recalibrations are best explored once you're in a 3D space with an actual Maya camera.