One of the matte paintings I worked on for the Olympus TV series. Only about 20% of this is my work- the rest is a combination of CGI Athens city and surrounding landscape, with the far distant mountains painted by Clara Parati.
Here are two of my matte paintings for the Halo: Nightfall TV series. The first was a complete matte painting of the hangar created using bits of photo reference from the shoot location, all of which had to be pushed and pulled around in photoshop to get the perspective right. The second is a before and after of the hangar roof, which had to be extended up to make way for the CGI spacecraft (I’m sure there’s a correct name for it in the Halo world), as well as being made to look a little beefier so it would look like it could open up.
First up Michelle Cullen has joined the production as a producer. Michelle helped me out with casting and on as a runner fetching copious amounts of coffee for the crew on a spec tvc called Zombie Chicken I shot years ago, and then we ended up working together at Lipsync Post recently – the visual effects industry is a small world, especially in Soho. First up is getting Michelle up to speed on the Kickstarter campaign, and all the information I’ve been compiling about running a campaign.
I’ve spent a few evenings tweaking the Kickstarter campaign text and rewards, adding in some new ideas gleaned from Brian Keene and I putting out feelers to his fans on what rewards they’d like, and tonight I’ll be working doing a few more hours work on the visuals before going of to see Jurassic World later. Yesterday I also went to see Slow West(loved it) and Mad Max: Fury Road (for the third time) over the weekend.
Work has started on budgeting the Kickstarter side of things, starting to get quotes on the cost of the rewards, and compiling all the information in an spreadsheet document which suddenly starts making the whole thing feel a bit more acheivable once we can actually start seeing and juggling the numbers.
I’ve also started putting together a set of moodboards – a collection of images to help give an idea of how the whole film will come together visually. For now I’ve just been concentrating on the cabin that features in the film, so I can get Max Dennison, our vfx supervisor to start work on some concept art. I also knocked up a quick sketch below to help give Max a starting point. As my background is as an illustrator, I find the easiest way to communicate visuals is simply to draw them.