eternal knowledge
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Project overview
With this cinematic, i wanted something that showed ‘grit’, more neutral compared to my previous cinematic. I wanted to create unique landscapes, and i wanted to create something that was both almost poetic in it’s storytelling and i wanted to create something that would showcase my talents when it comes to visual effects. I wanted to built on what i’ve learnt from my first cinematic, and explore different avenues. To make my metahumans more unique, to learn clothing simulation, and to get better at creating an overarching story.
Inspiration
I felt inspired as i created this project with an extremely tight deadline, one that i felt was almost a Sisyphean task. Knowing, i’d never reach the peek of “perfection”, and that inspiration mixed with Nordic Mythology, gave me the idea for adapting the story of Odin. How he knows everything, yet the one thing he can’t figure out, is what’s to happen in the future.
Character design
I knew that i wanted to work with metahumans, yet there’s a few challenges when doing so. One being customizability, with the relatively limited options when it came to skin and clothes. Therefor, i after looking into various designs of Odin and Thor, i quickly went into the process of creating the necessary assets for the characters.
For the creation, i created the skin textures in photoshop, and substance painter.
For the clothing, i designed the clothes in marvelous designer.
Lighting and mood
Building on the theme from before, i wanted my colors to be very saturated and distinctive, i wanted each environment to have a color-scheme.
For Odin, i went with a fiery red color to reflect him being a god of war, along with the red color symbolizing sacrifice.
For Thor, i went with a blue sharp color to be the opposite of Odin. In the scene, he’s out of his element as he’s fated to die fighting the Midgaard Serpent, which i wanted to reflect in the overall colors in the scene.
Final thoughts
This project has been a reflection of my own stress and ambitions. Through the scripting and storyboarding, I’ve sculpted a mountain to climb. Long hours, and a very tight deadline made me overwork myself, yet – once i saw the end of my stress slowly coming, i could reflect myself in the story. I’ve sacrificed plenty of stress, headaches and whatnot to make this short film a reality, and from it, I’ve learnt both a lot technically, and a lot about myself.
Super 16 – Sir Stella
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Project overview
For this project, i had the role of VP supervisor, and the vfx artist for the background. Which, was a very fun challenge to take up.
I was in close communication with the director, and the director of photography, to create the scene wished to see on the led wall. This was a learning project for me, and for them, as they wanted to implement virtual production for some of their scenes.
*The shortfilm is currently unreleased, therefor the video/images here has red marks, etc.
Collaborative effort
Leading up to the shoot, i had a lot of dialogue with the creative team behind the scenes, to make sure that their wishes were met. I sent them updates often, to make sure that the scenes they had in mind would be realized, during this process, i figured out what worked on the led wall, and what didn’t – I made a few general rules for myself, which – will improve my workflow and results in future virtual productions.
Challenges and solutions
For this production, i was given a pitch for the scenes, a description of the themes and plot of the story, along with an overall aesthetic that they were going for. During this process, we expanded the scenes and decided to utilize the power of Unreal Engine, having multiple different versions of every scene, that we quickly could swap between.
The concept they had in mind, was this endless field with a very oversaturated surrealistic sky. One that you might see at a climax of a fantasy film.
For the foliage, I had quite a challenge trying to fit in as much as possible, without sacrificing performance due to this being rendered in real time.
Virtual Production
We set up our pipeline, with Unreal Engine being the centerpiece of it all. We connected Unreal Engine to the Vive Mars tracking system. We connected it to assimilate on our render engine, to give extra fidelity when it comes to colorgrading the LED volume to make sure that the footage looked correct, when recorded in camera.
Bless you – celeste
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Project overview
This was my first real taste at creating music videos, and my role on set was to make sure the LED wall worked, and functioned with their own brought content. For this, i made sure to establish good communications with the director, and i set up the footage they had for the background in assimilate, to make sure we got the right colors on the musicians.
It was a treat to get to work with these guys, they brought great energy and was all around enthusiastic for the process.
Fast-paced
Given that this was a music video, we had to record the video at a high pace. I made sure that all the technical aspects were in working order before the crew showed up on set. I calibrated the screen, to work better with the colorspace that their footage was recorded in.
During the day, the director asked me if it would be possible to have an orange-ish color be played on the wall, for some stills for their social medias, which I quickly fixed by photoshopping something together, and editing the colors in assimilate.
Neon samurai
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Project overview
This was my first work project when it comes to animation. Along with that, it was created in a very short amount of time due to a deadline (Exam).
I managed to stitch together a vague story, with animations with metahumans, simple niagara systems, and a visually distinctive style.
What it taught me
This project strarted something, it started my journey, and it started my creative flow. I learnt, that through hardwork, good results can and will come. It taught me the basics of animation, it taught me how sequencer worked, and it helped me realize that i wanted to work with animation.
eternal knowledge
READ MORE
Project overview
With this cinematic, i wanted something that showed ‘grit’, more neutral compared to my previous cinematic. I wanted to create unique landscapes, and i wanted to create something that was both almost poetic in it’s storytelling and i wanted to create something that would showcase my talents when it comes to visual effects. I wanted to built on what i’ve learnt from my first cinematic, and explore different avenues. To make my metahumans more unique, to learn clothing simulation, and to get better at creating an overarching story.
Inspiration
I felt inspired as i created this project with an extremely tight deadline, one that i felt was almost a Sisyphean task. Knowing, i’d never reach the peek of “perfection”, and that inspiration mixed with Nordic Mythology, gave me the idea for adapting the story of Odin. How he knows everything, yet the one thing he can’t figure out, is what’s to happen in the future.
Character design
I knew that i wanted to work with metahumans, yet there’s a few challenges when doing so. One being customizability, with the relatively limited options when it came to skin and clothes. Therefor, i after looking into various designs of Odin and Thor, i quickly went into the process of creating the necessary assets for the characters.
For the creation, i created the skin textures in photoshop, and substance painter.
For the clothing, i designed the clothes in marvelous designer.
Lighting and mood
Building on the theme from before, i wanted my colors to be very saturated and distinctive, i wanted each environment to have a color-scheme.
For Odin, i went with a fiery red color to reflect him being a god of war, along with the red color symbolizing sacrifice.
For Thor, i went with a blue sharp color to be the opposite of Odin. In the scene, he’s out of his element as he’s fated to die fighting the Midgaard Serpent, which i wanted to reflect in the overall colors in the scene.
Final thoughts
This project has been a reflection of my own stress and ambitions. Through the scripting and storyboarding, I’ve sculpted a mountain to climb. Long hours, and a very tight deadline made me overwork myself, yet – once i saw the end of my stress slowly coming, i could reflect myself in the story. I’ve sacrificed plenty of stress, headaches and whatnot to make this short film a reality, and from it, I’ve learnt both a lot technically, and a lot about myself.
Super 16 – Sir Stella
READ MORE
Project overview
For this project, i had the role of VP supervisor, and the vfx artist for the background. Which, was a very fun challenge to take up.
I was in close communication with the director, and the director of photography, to create the scene wished to see on the led wall. This was a learning project for me, and for them, as they wanted to implement virtual production for some of their scenes.
*The shortfilm is currently unreleased, therefor the video/images here has red marks, etc.
Collaborative effort
Leading up to the shoot, i had a lot of dialogue with the creative team behind the scenes, to make sure that their wishes were met. I sent them updates often, to make sure that the scenes they had in mind would be realized, during this process, i figured out what worked on the led wall, and what didn’t – I made a few general rules for myself, which – will improve my workflow and results in future virtual productions.
Challenges and solutions
For this production, i was given a pitch for the scenes, a description of the themes and plot of the story, along with an overall aesthetic that they were going for. During this process, we expanded the scenes and decided to utilize the power of Unreal Engine, having multiple different versions of every scene, that we quickly could swap between.
The concept they had in mind, was this endless field with a very oversaturated surrealistic sky. One that you might see at a climax of a fantasy film.
For the foliage, I had quite a challenge trying to fit in as much as possible, without sacrificing performance due to this being rendered in real time.
Virtual Production
We set up our pipeline, with Unreal Engine being the centerpiece of it all. We connected Unreal Engine to the Vive Mars tracking system. We connected it to assimilate on our render engine, to give extra fidelity when it comes to colorgrading the LED volume to make sure that the footage looked correct, when recorded in camera.
Bless you – celeste
READ MORE
Project overview
This was my first real taste at creating music videos, and my role on set was to make sure the LED wall worked, and functioned with their own brought content. For this, i made sure to establish good communications with the director, and i set up the footage they had for the background in assimilate, to make sure we got the right colors on the musicians.
It was a treat to get to work with these guys, they brought great energy and was all around enthusiastic for the process.
Fast-paced
Given that this was a music video, we had to record the video at a high pace. I made sure that all the technical aspects were in working order before the crew showed up on set. I calibrated the screen, to work better with the colorspace that their footage was recorded in.
During the day, the director asked me if it would be possible to have an orange-ish color be played on the wall, for some stills for their social medias, which I quickly fixed by photoshopping something together, and editing the colors in assimilate.
Neon samurai
READ MORE
Project overview
This was my first work project when it comes to animation. Along with that, it was created in a very short amount of time due to a deadline (Exam).
I managed to stitch together a vague story, with animations with metahumans, simple niagara systems, and a visually distinctive style.
What it taught me
This project strarted something, it started my journey, and it started my creative flow. I learnt, that through hardwork, good results can and will come. It taught me the basics of animation, it taught me how sequencer worked, and it helped me realize that i wanted to work with animation.