just some pixel doodles i did in creative boredom, or something like that…
Here is some inside reveals of some scenes. I know this really isn’t showing much, but it gives you a bit more of the story. Next week we are dealing with 3D models and compositing. See you again soon.
See more pictures at myriadstudio.com/blog
Posted in Flood: Movie/Design Project, Motion Graphics. Video
Tagged 3d, Arizona, art, az, behind the scene, Chandler, Chris Loope, Cornerstone, movie, myriad studio, redemption, stills, teaser, the flood, transormation
So here are some really early concepts for the video. Michael has been kicking out some sweet pipes, etc. Lovin the direction. We’ll be searching far and wide for some good textures. There are certainly some huge hurdles here, what does the boulder look like, how do we deal with compositing water, etc. but please take a look and let us know what you think. cheers.
no texture, pipe concept in the ground
The Advance 3D set
The objective was to design and implement a 3D set like you would see on tv. There would be sections for the outreach/missions teams, the youth and other ministries to present their updates/content in a new way. We are all familiar with the tech look the News channels have, so we wanted this set to share the same interior look and feel that the church had.
Working with director Matthew Taylor on a ‘Akira’ style art piece for the new Radiohead Album: In Rainbows. The album is the soundtrack and of course it’s a silent film. The trick is to make believable, yet powerful 3D and surreal imagery for an actress and imposed characters to live in. The first scene is a beautiful girl (who is really similar to a robotic being) who is being controlled by an alien force who is looking down to her from a ‘control room’. Here are some concepts we designed. I’ll put up more shots when i get back into the studio.
Radiohead In Rainbows music video concepts
INT. BLUMES SHOP
An old control panel flickers to life showing vital signs as a psudo-organic amorphous figure. The lights flicker on and off as morecontrol panels come to life. Camera moves the control panel to reveal a large window overlooking a room full of mounds of discarded mechanical body parts. In the middle of this large room with debris, lights come on to reveal a center room. The visor on this room folds back to reveal a mechanical woman. She is facing down and black wires run out of her arms and legs. The cables run into the surrounding walls. Inside the mechanical cocoon there is an infinite white space that contrast with the dirty old decay on the exterior of the birthing
chamber. As if conserved by the chamber for decades there is a life that is thrust into the mechanical woman. As the lights flicker in the control room, the mechanical woman comes to life, with jerky motions. She raises her head up to examine her surroundings and then from the control room is prompted to stand. The control room reveals a series of video monitors that reveal different facets of this mechanical person. She takes steps forward testing her range of the her wires that bind her to the room. The lights and controls become more fierce in the room as her motions mimic the kinetic connection. As the reflection between the control room and the mechanical woman becomes more violent, her wires snag on her stiletto boot and causes her to malfunction. Suddenly the control panel blinks a command to her and she resist against it. As she becomes self aware she begins to struggle against the control room. Her violent reaction to the control room causes the controls to burn out. The monitors go dead and black smoke starts to poor out of the panel as she begins to tear at the wires, riding them from her body. As she tears them out she violently convulses and staggers out of the same cocoon toward the edge of the room and free for the first time, topples over the edge.
This is an early concept of the control chair