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Team Poly Pack

Ideas and Inspiration

Treatment

Script

Motion Graphics Moodboard

Motion Graphics Designs

Sci-Fi MoodboardsSci-Fi Moodboards

Sci-Fi Designs

World Manipulation Moodboard

World Manipulation Designs

Isometric Animatic

Storyboards

Location Scouting

AnimaticAnimatic

Proxy Assets

Tests

Schedule

Contents

Poly Pack first formed as a Team in the summer of 2013 where we bagan to discuss ideas and share inspiration over the popular social network site ‘Facebook’. From there we discovered that our common interests lay in the area of VFX. From this common interest our Idea was born, a conceptual feast for the eyes full of interesting and technically challenging effects. The piece plays to our strenghts and will generate good experience in professionally used techniques.

Team Poly PackBlog: http://polypackagp.tumblr.com Vimeo: http://vimeo.com/polypack

Andrew Bartholomew

Robert Lilley

Nathan Lawrence

James Robertson

Pre-Production RolesScript, Concept Art, Animatic

Production RolesModelling, Texturing

Set / Other RolesHDRIHDRI Acquisition

Pre-Production RolesAnimatic, Concept Art,

3D Tests

Production RolesModelling, Rigging/Scripting

Set / Other RolesSet measurementsSet measurements

Pre-Production RolesStoryboard, Concept Art, Art Direction

Production RolesCompositing, Texturing, Look Dev

Set / Other RolesSet / Other RolesCinematography, Sound

Pre-Production RolesConcept Art, Tests,

Treatment

Production RolesCompositing, Texturing,

Look Dev

Set / Other RolesSet / Other RolesTexture Acquisition

From the outset we knew as a team that we wanted to do a live action VFX piece. From there we began to look for all kinds of inspiration from film to advertising.

While researching we found a music video for a band called ‘Clubfeet’. The video was produced by a small VFX company named ‘OH YEAH WOW’. We liked the primary effect in the video as it was simple yet effective. This inspired us to take the core technique from the video and build a new idea around it. Instead when the character walks into a still of himself, this would trigger a series of envrionmental changes.

WWe additionally looked at a wide variety of other videos and media in order to make an informed decision on the sort of style and overall effects we would incorporate into the sequence.

VFX in Film and Advertisements

Clubfeet Music Video

Watch the full video here: http://vimeo.com/58161697

‘Reverie’

IntroThe animation pre-production module requires a team to produce a 1 minute short animation from The animation pre-production module requires a team to produce a 1 minute short animation from concept to completion. This is a free brief, giving the team full creative licence within the 1 minute window. Team Poly Pack has decided to make an abstract, experimental VFX short containing both Live-action footage and CG elements. It will explore a multitude of different themes and visual styles.The following document is the proposed treatment for the aforementioned animation, along with more in depth notes to support the idea.

The ConceptThe ConceptThe premise of this sequence is a character walking down a street, as the very world around him takes on a multitude of different appearances. The title reverie, meaning daydream, is a state of being pleasantly lost in one’s thoughts. Changes in the environment are initiated via a series of glitch-like transitions which take place when the character collides with future stills of his figure.

Technical Breakdown/StyleThe piece will encompass 3 distinct themes; however the overall style of the product will aim to be The piece will encompass 3 distinct themes; however the overall style of the product will aim to be rendered realistically. No matter if it is a primitive object floating across the screen, or a sci-fi set extension, the CG elements will always look like they belong in the footage.

Theme one is a colourful, angular extravaganza with geometric shapes and motion graphics fea-turing heavily in the street and on the walls/surrounding buildings.Theme two switches the tone to a grittier dystopian sci-fi scenario, with run down streets, neon signs, a grotty metro train and more subtle sci-fi effects.Theme three reverts back to the normal street, however now objects and parts of the scenery begin to deform in strange ways. This would include floating chimney stacks, bins, post boxes and buildings transforming into new shapes etc.

WWe hope to shoot the footage on a BlackMagic pocket cinema camera. This will give us a good quality base to work from. This footage will then be used to rotoscope the live action character will separate him/her from the background plate. Still frames from the rotoscoped character will then be extracted and projected onto cards in Nuke’s 3D space. The cards will be aligned with the foot-age in such a way so that when the video reaches the separated frame, it will line up perfectly, the scene around the character will change and he/she will continue walking until they meet the next still and the background changes again.

To make the backgrounds change into all of the different themes mentioned above, several different techniques will be employed. First of all the footage will be 3D tracked/match moved. This will allow us to build a proxy model of the street which would be used in the wire frame ‘glitches’ as well as allowing us to incorporate 3D modelled assets into the scene. Matte paintings will also be added within Nuke by projecting onto cards, as well as CG set extensions modelled in Maya.

The majority of animation and eThe majority of animation and effects will be prepared within Maya, rendered outand composited into the footage at a later stage. Some of the key elements include a 3D spaceship flying over the rooftops, a CG metro running across the street, floating street furniture (Bins, Post Boxes etc) and geometric shapes flowing around the street. The duration of the piece will be approximately 45 seconds, the inclusion of credits and titles will round it up to 60 seconds.

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Software:

Concept: Adobe PhotoshopPrimary 3D Package: Autodesk MayaCompositing: Nuke, Adobe After EffectsEditing: Adobe PremierSculpting: Autodesk Mudbox, ZBrushTTexturing: Mari, Adobe PhotoshopOther: Headus UV Layout

Storage Space Required: Approximately 10GB (Taking large video files into account)Rendering Time: ~12 Hours Total Final Render TimeFile Format Delivered: .mov (quicktime) / H2.64 codec / 1280x720 / 16:9Budget: N/A

Contingency Plans

In the event of any constraints for time, the project has room for flexibility allowing us to scale In the event of any constraints for time, the project has room for flexibility allowing us to scale the project accordingly. Certain models and effects may also vary depending on the kind of footage/location we shoot.If the Black Magic Pocket Cinema Camera does not arrive in time for shooting in January, we will seek other equipment sources within the University. Alternatively, as a last resort we would consider renting a professional camera.

Sound Design

WWe aim to outsource the soundtrack to a third party composer, or alternatively gain permission to use a pre-composed track from a site such as bandcamp.com.The music will have an upbeat contemporary electronic vibe and synchronise with key elements of the animation to have a bigger impact on the audience.As well as featuring a music track, certain subtle sound effects will be present throughout the short offering a consistency and continuity to the piece. These are effects such as a static buzz when approaching a glitch area. The overall sound design should produce an exciting unpredictable atmosphere to heighten The overall sound design should produce an exciting unpredictable atmosphere to heighten the appeal of the piece.

Summary

Our main aim for this short film is to produce a cinematically interesting piece to expand upon our current VFX/CG skills, providing a visually entertaining feast for the eyes. The intended target audience covers all ages, prospective employers and anyoneinterested in visual effects. WWe are confident that we can create a professional sequence that pushes creativity as well as technicality, utilising the latest equipment and practises.

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“REVERIE”By

Robert Lilley, Andrew Bartholomew, James Robertson and Nathan Lawrence

University of Teesside FADE IN:

EXT. STREET – EARLY MORNINGEXT. STREET – EARLY MORNING

Tracking shot of man walking down the street. Along his path he collides into a figure of himself. The moment he comes into contact with the still, a song immediately kicks The moment he comes into contact with the still, a song immediately kicks in. An assortment of 2D shapes animate along the surrounding walls. They take on a range of vibrant colours and transform the ordinary street into a lively, animated environment. A set of 3D shapes maneuver around the scene, the different shapes animating in different styles alongside the music.

For a second time the man strolls into the next figure. The environment For a second time the man strolls into the next figure. The environment begins to glitch. The surrounding scene changes into a sci-fi setting.

Set extensions such as futuristic buildings extrude onto the scene. A matte painting of a city replaces the existing background. A battered metro train soars past behind the man.

Holographic adverts as well as worn signs populate the scene. Street Holographic adverts as well as worn signs populate the scene. Street fittings such as neon signs come into the setting as the man continues his journey. A small airborne vehicle flies past.

He reaches yet another figure of himself and the scene fluctuates into the new environment. A range of street objects such as a post box and wheelie bin are suspended A range of street objects such as a post box and wheelie bin are suspended in the air. The street then starts to move and transform in various ways as though configuring itself.

Buildings can be seen floating and transforming around the scene, segments of the pavement begin to rise and pieces of buildings drift down from the sky.

The scene glitches once more as he steps into the last figure. The The scene glitches once more as he steps into the last figure. The environment resumes to the normal un-populated street. The man walks off camera as the music stops. A glimpse of a remaining glitch appears briefly again.

FADE OUT:THE END

Script

Motion GraphicsStyle: Geometric, Abstract, Colourful, Graphic

Possible effects were designed in order to gain a more clear visual understanding of the way in which the motion graphics theme would unfold. Below are a range of different ani-mations that were considered during the early stages of the project. Certain concepts were later develped further, and have evolved into the effects seen in the animatic.

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Possible effects were designed in order to gain a more clear visual understanding of the way in which the motion graphics theme would unfold. Below are a range of different ani-mations that were considered during the early stages of the project. Certain concepts were later develped further, and have evolved into the effects seen in the animatic.

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Mood BoardSci-Fi Grungy, Neon, Faded, Subtle

Mood BoardSci-FiVehicle Research

Throughout the process we were struggling to explain our idea in a way that people could understand. In order to properly convey our idea, we decided to make an isometric animatic in addition to our ordinary animatic. This shows all themes incorporated in the piece in such a way that is easily digestible. The drawings were created in Photoshop and then animated in After Effects.

ForFor the Sci-Fi theme we wanted to portray a gritty version of the future. The key aspects of the theme were to be kept subtle, yet look good and keep the audiences attention. We began to design props and scenes with just general sci-fi themes, and later honed in on the more gritty and realistic style.

Some of the Key elements in the sci-fi theme are as follows:

-Spaceship fly-by-Metro Train passing in the distance-Sci-Fi matte painting in the background (skyscrapers etc.) -Sci-Fi matte painting in the background (skyscrapers etc.) -General building extensions and objects (AC units, pipes, metal awnings etc.)

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Spaceship and Metro concept Art:

Below are some of our designs for the Sci-Fi environment and props. Several itterations and designs were produced by all members of the group to further push us towards a unified vision of what the scene should look like. At this stage we experimented with shape, colour and general design to find which look best suited the production.

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Further designs were produced which continued to experiment with shape and composition. For the matte painting which will feature in the background of the Sci-Fi theme several silhouettes were produced to better understand which building types were going to have o modeled at the production stage. More ‘run-down’ props and buildings were designed referencing locations scouted earlier in the term.

Different signs and billboards will be scattered around the Sci-fi scene adding to the grotty futuristic feel.

ModelModel sheets were produced for assets such as the Security Camera and Space ship to make the modeling stage easier and save time in the long run.long run.

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Mood BoardWorld Manipulation Style: Photorealistic, Architectural

When designing the world manipulation theme we aimed to create a scene where gravity and what we take for granted everyday are turned on their heads. Objects that nobody ever takes any notice of begin to float across the scene and buildings begin to morph and extrude in a surreal fashion. Buildings uproot and float across the street.

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Throughout the process we were struggling to explain our idea in a way that people could understand. In order to properly convey our idea, we decided to make an isometric animatic in addition to our ordinary animatic. This shows all themes incorporated in the piece in such a way that is easily digestible. The drawings were created in Photoshop and then animated in After Effects.

Final Isometric Animatic on Vimeo: http://vimeo.com/79728649

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Multiple trips have been undertaken as a group to different locations, trying to find the perfect location to film. After looking around Durham, Middlesbrough we found the ideal street in Newcastle which had all of the architecture and features we had visualised.

Final Location - Newcastle:

Initial Locations :

Animatic

Final Animatic on Vimeo: http://vimeo.com/81099675

For the purposes of the animatic, we created a range of proxy models appropriate to each of the main themes in the visual effects sequence. We will be able to use these 3D models as a guideline for upcoming assets to be developed during the production stage.

Proxy Assets

Proxy Assets

Proxy Assets

Our group wanted a clear understanding of the technical process involved in creating a duplicated still of the character at during his journey down the road. We performed some tests of this effect in Nuke working out the process ourselves by analysing the music video and implementing the effect on our own footage.

-First-First Test: For this test we rotoscoped Andy on a frame we wanted to isolate. We also tracked the footage creating a 3D representation of the corridor. We then placed that rotoscoped frame onto a card and placed it into the Nuke 3D space, lining it up so that the character would collide with it exactly. After the first test we discovered that the angle we had filmed at was not optimal. The rotoscoped frame was covering the footage and you could not really see the character walk into the frame. This is an issue we addressed in the second test.

-Second-Second Test: This test used a similar process, only instead of applying the rotoscoped frame directly to the card, it was projected trough a duplicate of the camera. This way the frame matches exactly and no nudging is needed in the 3D space. For this test we also filmed at a more ‘side on’ angle to remove the issues discussed in the first test.

Nuke 3D Tests

First Test: http://vimeo.com/77397511

Glitch Test: http://vimeo.com/78121445

Second Test: http://vimeo.com/79505606

A test was created to investigate our ability to Keyframe chromatic abberation, an effect which will be used heavily in the glitching transitions. Keyframing of the colour channels was done in After effects, however similar effects can be achived in Nuke which may be explored.

Our team schedule (featured below) is comprised of all aspect of the project. When creating it we stuck to a strict realistic time frame. At the end of AGP1 we are on track and have successfully created all pre-production assets. Looking ahead to AGP2 we hope to continue our good work ethic. The schedule is structured in such a way that all members of the team have something to do at any one given time. Compositing runs alongside modeling and the sequence are broken up into its 3 themes so that our skills as a group are simultaneously utilised. This way we will have completed shots finished while other shots are still in production. Any flaws in the pipeline will be identified and improved upon with each iteration.improved upon with each iteration.

Schedule