ANIMATION
Because we plan on using Motion Capture for Vala in the cinematic as we have for her in-game animations, our Animator was busy this week finding some reference videos specifically for the Grand Centipede himself. She closely studies the movements of real centipedes in preparation, ahead of our beginning on animation.
In regards to Vala, Kelly began working in MotionBuilder during our animation class this week to familiarize herself with the interface. She has also been working with and familiarizing herself with the MotionCapture data clean-up process on Vicon Blade 2.0 through video tutorials.
The Ley Lines team has captured some potential motions for the Cinematic during their last shoot. These current takes will be acting as a proxy to practice on until our story reel is fully cemented. Next week, Kelly will be acquiring this MoCap data and begin work on creating a simple MoCap clean-up test for the purpose of becoming proficient in the cleanup process. She will become very familiar in the entire animation pipeline process to be as efficient as possible by the time the actual animation begins.
LIGHTING
For this week, our Lighting Artist discussed the creation of 3-point lighting rigs (concerning key lights, fill lights, and blacklights) with the Technical Director. The current lighting plan would involve an overall fill light to establish the scene with key & back lights parented to the camera.
Alex also discussed lighting dynamics with the Layout Artist so we could establish the moods laid out in our storyboards & story reel. The overall lighting of the temple is meant to be ethereal yet ominous. "God rays" will be particularly utilized in this environment. The purpose of these rays is symbolic of there still being some trickling rays of hope in the midst of seemingly hopeless and irreversible destruction. Our overall lighting scheme will have plenty of moments of dramatic lighting and high contrast. Our Lighting artist has also drawn some examples of what our light scheme will look like in the cinematic.
Some examples of Temple lighting.
SOUND
Like JCVD, I split myself between immense trucks seemingly moving backwards while racing towards the proverbial sunset of production, all in the name of sound.
That being said, here's some info on what a Sound Designer does:
http://www.media-match.com/usa/media/jobtypes/sound-designer-jobs-402782.php
What do Sound Designers do?
Sound Designers are responsible for providing any required sounds to accompany screen action. They work closely with the production mixer, sound supervisor, the editor, and the director to create original sound elements. They may work with the director to create the entire soundtrack, or be hired just to create one kind of effect.
Most Sound Designers are experienced sound editors who often carry out a managerial role. They may supervise the work of the entire sound post production process as well as having a specialized role in creating the sound concept for the production.
Sound effects are added after filming during the editing process to give the film an authentic sense of location or period, or to give it a particular mood. They may be employed by audio post production houses, or work on a freelance basis and provide their own digital audio workstations. They are also likely to own their own recording equipment.
Good communication skills are needed, along with imagination and creative flair to produce original sound elements and effects. The ability to accept direction and work well with others is also important. Sound Designers must have a good understanding of acoustics, and an expert knowledge of sound recording and analog and digital editing techniques.
Sound Designers are enthusiasts who have usually spent years recording and experimenting with everyday sounds before entering the industry. They often progress from being runners in picture or sound cutting rooms, or in audio post production facility houses, to becoming assistant re-recording mixers or assistant sound editors providing backup to experienced sound editors. They may also have a background in music or may have learned their editing skills working in television production. Many Sound Designers are also supervising sound editors, or re-recording mixers.
Most Sound Designers are experienced sound editors who often carry out a managerial role. They may supervise the work of the entire sound post production process as well as having a specialized role in creating the sound concept for the production.
Sound effects are added after filming during the editing process to give the film an authentic sense of location or period, or to give it a particular mood. They may be employed by audio post production houses, or work on a freelance basis and provide their own digital audio workstations. They are also likely to own their own recording equipment.
Good communication skills are needed, along with imagination and creative flair to produce original sound elements and effects. The ability to accept direction and work well with others is also important. Sound Designers must have a good understanding of acoustics, and an expert knowledge of sound recording and analog and digital editing techniques.
Sound Designers are enthusiasts who have usually spent years recording and experimenting with everyday sounds before entering the industry. They often progress from being runners in picture or sound cutting rooms, or in audio post production facility houses, to becoming assistant re-recording mixers or assistant sound editors providing backup to experienced sound editors. They may also have a background in music or may have learned their editing skills working in television production. Many Sound Designers are also supervising sound editors, or re-recording mixers.
There are 1898 members with the job title Sound Designer on Media Match.
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