March 02, 2016

Fantastic Voyage: Online Greenlight Review

1 comment:

  1. OGR 03/03/2016

    Hey Becky,

    I've been excited by the hands-on way you've been experimenting in software as you attempt to resolve both a style and methodology for your film. In principle, I like the inky thing you're going for, but as I've expressed in previous feedback, I want you to refine this aesthetic. It can be all so organic that it just looks as if we're looking into an abstract painting; your virus cell needs a proper form; it needs to feel 'designed' and resolved, and not just an interesting looking blob; designing organic assets is really tough, so take a look at these examples - the sentinels from The Matrix movies for example:

    You need to actual deal with / design your components in this more formal way, so your stuff looks solid and coherent on screen - however you then decide to go about making/texturing/animating it. I suppose I'm a bit worried that under all your natural expressiveness and clear love of keeping things loose, you're also 'not' getting down to the nuts and bolts of your design (and this was certainly true of FSTS).

    Re. your storyboarded understanding of the life-cycle of the virus, I think it's really important that the cycle ends as it began, i.e. with a mosquito drawing up the infected blood and then flying off, your audience in the knowledge that the cycle will start all over again.

    It's not clear how you intend to actually impart the science info to your audience - narration, annotation - something other way? In one of your concept paintings, you've actually got white writing labelling the various components in the scene; I've seen a similar technique of labelling in shot work nicely in these examples:

    So - in summary, I'm very keen that you actually 'design' something - that is, you take a drawing, and from it you develop your assets, present that development in a professional way. I love all the spidery, atmospheric stuff, but I want to see you getting into the nitty-gritty of your aesthetic and really investigating it through design and through more development. Think too about the ways and means of getting your information across in a way that fits with your overall production design.