The full catalogue of Xian's production and reference stills from the shoot.
http://modfilms.thaumagen.com/pics/thumbnails/xian_thumbnails.pdf
Development frozen for breakdowns at this point - script v4.3, storyboards 20041124, animatic 20041124 (v2)
Storyboards gallery
http://thequality.com/flics/10weeks/gallery/album10
Individual Storyboard frames package (ZIPed JPGs)
ftp://upload:please@ftp.modfilms.com/storyboards/20041124_sanctuary_boards.zip
Printable Storyboard proof sheet (PDF)
ftp://upload:please@ftp.modfilms.com/storyboards/20041124_sanctuary_boards.pdf
Meeting on the 08/12/2004
Present to the meeting
Art Departement - Damon O'Connell
VFX - Christian Hogue
Production - La
State Registry
To Optimize the shooting cost of the “State Registry” sequence:
Whole scene sequence should be boarded from initial wide down to closeups.
Initial shots could be very wireframe 3d info graphic and only change to possible actual set in the close ups for the l/a elements.
Then we can determine costs for blue screen versus "augumented reality" approaches.
Lasers should be cgi.
Paper could be colored or actual pages form magazine or could be just color coded blank paper for the augmented realy info graphics to track to.. ie simple physical cues for the real information.
We will then be able to see if it is cost effective to do full CGI in post production.
…Or the alternative is to shoot it in live action with probs etc.
The art department will provide a concept art brief.
Bush
Please click on the links to see eventual idea and how to avoid shooting live action sequences in the bush fire.
This is a digital photomontage based matte painting projected onto a simple 3d shape to all low some limited 3d camera movement.
please click on attached movies from France 3 TV Ident and Roni Size video.
http://www.buf.com/?class=comm&year=2004
and then scroll down to FRANCE 3
http://www.streamload.com/lostinspace_vault/EL/EU8XR4DYNY/roni-extract.mov
Smoke and dust will be added in post production afterward depending on the digital matte/monatgist skills they may do this all or this may be handled by a team that takes the digital matte and does the 3d.
The nice thing is the smoke and dust can be shot for real and there fore be more convincing.
Live action of a burning tree will be then composited in post
Blake Workspace
Full 3D, with the live action shots in the studio for the drama
Blue screen Blake. carefully storyboarded for camera angles etc but allowing enough creative scope regarding the actual look and feel of the info/interface-gfx for the motion graphics people to be incentivised creatively on the project.
Possible visual cues coming into The Void space from her bedroom.
Art Department brief needed.
Blake’s room
Art departmenet brief to be given to production design.
No post production involvment, apart from screen contents which could be live on set or comped in post depending on who does them what they relate to (the void) and when they can be ready.
Classroom
Only the area immediately behind the teacher needs to be blue screen the rest of the wall can be simply corner pinned.
The film seen by the pupils on their laptops will be filmed before entering post production. We will use blue screen on laptop screen and then composit those in post.
Its best if the screens are fed a blue signal to capture screen reflections accurately.
Best if all screens are lcd's then no camera/crt syncing is required even better if its shot so we don’t see screen contents apart from a Blade over shoulder shot.
DENR screen
Most cost effective approach would involve a single large screen much like the teachers wall screen with mutilple feeds in picture windows etc. This would remove the need for multiple live feeds on set and for tracking of multiple individual monitors in post.
Blue screen and compositing in post production.
Actual interface to be determined by gfx supplier (working with art and director) to incentivise them creatively.
Eco activist
Art department will provide concept art brief to production design.
Nanobat POV should match the actual motion of the nanobat and see the set so this can be comped in the nano-monitor screen in post or fed live on set. Perhaps thru some realtime VJ codec to distort treat it.
CD
Damon will provide some test of CD but it will be fully done in post production.
The VFX team would suggest CD is done by the motiongraphics people who have an animation sensibility as he needs to tie into the interface design well, especially The Void.
Refer to MTV "cut out" creature,3d abstraction of this perhaps.
Nanobat
The Art department will provide a FULL description of the look and feel of the Nanobat to the model maker and post house. The Art department will not produce sketchs or drafts.
Files (State registry)
Camera/RIG/PDA Full description needed from Art Dept for Production design team.
Thank you
La
Floating panels in void
The Blogmap link is the best overview, showing what categories are being worked on. http://thequality.com/flics/10weeks/blog/blogmap.html
From there, the Imagery category is of most relevance at the moment given the focus on conceptual art and storyboarding with a view to being able to budget production. http://thequality.com/flics/10weeks/blog/archives/cat_imagery.html
I’m trying to strike a balance between giving collaborators room to visualize this (by not publishing my crude boards in full) and giving examples of what I’m talking about. That said, key posts at the moment are:
GUI aesthetic in Sanctuary
http://thequality.com/flics/10weeks/blog/archives/001685.html
Conceptual elements
http://thequality.com/flics/10weeks/blog/archives/001687.html
We're working to the following timetable for phase one. I think it is feasible to get the film shot earlier.
July 2004
Business set-up
August 2004
1st Draft of Interactive Design Document
December 2004
Start of Pre-production on ‘Sanctuary’
March 2005
1st Day of Principal Photography on ‘Sanctuary’
May 2005
Finalisation of Interactive Design Document. Agree Commercialisation Plan & Strategy
August 2005
Production of Demo
UK and Aussie Producers and Production companies.
See Extended Entry
UK Producers and Production companies
http://mandy.com/1/services.cfm?c=0prd&t=ukew&k=FF&p=1
Pommie Highlights:
Mills, Simon
Carnival Films
David Sullivan
Delfs, Thomas (Dance of Shiva is probably the best short I’ve ever seen)
Ben Elia (benjaminelia@club-internet.fr) – based in France
Figuero, Daniel (Produced Fistful of Fingers and The Bunker)
Firefly Films Limited (formerly Tribeca Films Ltd)
Fisher, Dean
Hammer & Tongs
Interactive Magic
Keyhole Productions
Kleparski & Bee
K-lyx Media
Little Wing Films Ltd
Little Wonder Productions
Lloyd, Philip
Lock, Ben
lost in space (actually a network of top-profile designers, artists, etc.)
Maverick Media Ltd
McGowan, Jen
Moore, Roger Wilson
Morton-Haworth, James (HD specialised DP)
Nexus Productions Ltd
Prolific Films
Ravenwolf Films
Robinson, Fleur (made a 35mm, 10m Sci-Fi short called Avatar… Spooky. Also has experience with games industry)
Roughneck
Soyte
Stillking Films UK (yes, the AVP guys’ UK arm)
Street Level Productions (UK)
Sunipa Pictures
Taylor, Elaine
The Producers Films
Trevor-Roper, Claire
Vigiani, Loris
Walsh Bros Ltd.
Warrenfilm Productions Ltd
Wildfire Productions
Wontner, Tom
Zeno Film Productions
Zenturio
Aussie list is below.
feature films
http://mandy.com/1/services.cfm?c1=0prd&c2=&c3=&t1=asns&t2=&t3=&k=FF
shorts
http://mandy.com/1/services.cfm?c1=0prd&c2=&c3=&t1=asns&t2=&t3=&k=SH
Aussie Highlights:
AKC77 Pty Ltd
60 Films
Beyond International (Distributor)
Clever Bits
Einfeld, Daniel
Embryo Films
Filmgraphics
Fluxus Films
Iconoclast Productions
Kuranya Pictures
Laservision Macro-Media
Martin, Josh
MediaCraft Interactive
Prodigy Films
Republic Films
Reynolds, Robert
RLC Motion Picture Entertainment
Scorpio Media Pty Ltd
Violent Entertainment Inc
Violent Velcro
Wilcox, Mike
Reverse engineering the final goals of the project, we get a series of tests which need to constantly apply for the RIG:
GROOVER: Webcam support | Keyboard support | Controlpad support| Modifiable tracks
SWITCH: ReWire support
FEEDER: Upload MOD | Download MOD | Compile MOD
In no particular order:
Luc Besson
Andrew Mason
Terry Gilliam
Mike Figgis
Andrew Macdonald
For version 1 please follow this link
Below are the contact details (as found on IMDbPro.com) for some actors Michela was thinking might essay the roles of Father and Blade.
Russell Crowe
Talent Agent
George Freeman - William Morris Agency
phone: 310-859-4000
fax: 310-859-4462
310-859-4262
website: http://www.wma.com/
address: One William Morris Place, Beverly Hills, CA, 90212, USA
Publicist
Robin Baum - PMK/HBH
phone: 310-289-6200
fax: 310-289-6677
address: 8500 Wilshire Blvd., Suite 700, Beverly Hills, CA, 90211
USA
Tilda Swinton
Talent Agent
Endeavor Talent Agency
phone: 310-248-2000
fax: 310-248-2020
address: 9701 Wilshire Blvd., 10th Floor, Beverly Hills, CA, 90212
USA
Talent Agent
Christian Hodell - Hamilton Hodell Ltd.
phone: +44 20 7636 1221
fax: +44 20 7636 1226
email: christian@hamiltonhodell.co.uk
website: http://www.hamiltonhodell.co.uk/
address: First Floor, 24 Hanway Street, London, , W1T 1UH, UK
Talent Agent (Voice Agency)
Qvoice
phone: +44 (0) 020 7420 6827
fax: +44 (0) 20 7240 4956
email: info@qvoice.co.uk
website: http://www.qvoice.co.uk/
Carrie-Ann Moss
Scott Lambert - William Morris Agency
phone: 310-859-4000
fax: 310-859-4462
310-859-4262
website: http://www.wma.com/
address: One William Morris Place, Beverly Hills, CA, 90212, USA
Ken.
Luc Besson
Joel Silver
Peter Weir
Alan Parker
Contact details for above as in extended entry
Luc Besson
International Creative Management
phone: 310-550-4000
310-550-4304
212-556-5600
fax: 319-550-4441
website: http://www.icmtalent.com/
address: 8942 Wilshire Blvd., Beverly Hills, CA, 90211, USA
Joel Silver
Silver Pictures
4000 Warner Blvd.
Bldg. 90
Burbank, CA
Peter Weir
John Ptak - Creative Artists Agency
phone: 310-288-4545
fax: 310-288-4800
website: http://www.caa.com/
address: 9830 Wilshire Blvd., Beverly Hills, CA, 90212-1825, USA
Alan Parker
Michael Wimer - Creative Artists Agency
phone: 310-288-4545
fax: 310-288-4800
website: http://www.caa.com/
address: 9830 Wilshire Blvd., Beverly Hills, CA, 90212-1825, USA
This is the overview on how communication in the development cycle works online.
The blog system (Moveable Type) is the main collaborative tool we will use. Any useful project information either goes in here or is referenced from here. Public information on the subjects we are exploring goes in the Massive blog, this projects get developed in the headbin.
Rather than pre-empting how all you folks will want and need to use information, the plan is for people to PULL content rather than there be any great system of pushing content to you.
The aim of this post is to give an overview of how the system works and why, if you're envisaging having to wade through yet more bloody websites to find anything, you may be pleasantly surprised.
The available channels and how to tap into them:
1) Alerts - all project communication will be done via the blog. Project-wide announcements will be sent out as emails (like this) but these will be used increasingly sparingly so that the widest possible group of advisors and contributors can deal with the volume. For more regular email alerts, we are going to tap into syndication.
The blog system is set up to take advantage of syndication using various "aggregators" which are little programs that track syndicated web content on any number of sites you are interested in. These aggregators dump headlines into whatever software you organise your life around, putting pointers to relevent information (you choose to receive) wherever your eyeballs are.
What aggregator you use is down to your role and personality. The information can appear as
e.g.
a) Web page(s) with automatically updated links to the syndicated content you need to track (for web people like me, here's mine)
b) Emailed updates (for Outlook folks, tools like NewsGator exist)
c) News tickers for people who like Stockmarket style information direct to their desktop (AmphetaDesk)
d) Mobile alerts, iTV whatever
The beauty of this system is that it doesn't rely on you getting all your project information from one website or on thequality.com building some great big amazing cross-channel broadcast system. Whatever device you have now or in the future should be able to tap into this. It also means that, in theory, we can get on with the job of making some kick arse interactive entertainment without turning into librarians (like me! {:-).
2) Posts - articles, key references, etc... need to be posted into the headbin so they can be searched/browsed/referenced
3) Blog comments - anyone in the team can post public feedback on any post. A smaller circulation list is notified of each comment. Some comments (e.g. errata) will be removed once what they describe is dealt with. Others will be left up as a discussion thread. Use comments to this post to provide feedback.
4) Email - keep sending emails. Use your discretion whether something is appropriate for public filing or not. Email bits that should be filed, can be transferred to a blog post.
The overall aim here is not to get lumbered with maintaining a dinosaur document management system (ever seen one of those?) but at the same time take full commercial advantage of online publishing. Suggestions and logic bugs received gratefully.
Welcome to Wirrimbirra Sanctuary. This is the place that the story is set in the real world. Bargo is a sign you drive past on the freeway halfway between Canberra and Sydney, a three hour drive. The two suburbs of each city are approaching each other.
The Sanctuary contains the kind of dense brush and scrub that is very common in New South Wales so finding locations, and stunning ones at that, should not be a problem. The only license I'm keen to take is to make the most of variable heights (e.g. exposed high rock faces, narrow steep paths).
Animals found in Wirrimbirra:
Dingos, Tawny frogmouths, kangaroos, wallabies, lorikeets, emu, wombat, kookaburra, cockatoo, spiders