Wednesday, January 29, 2014
Step 4 due Monday January 27
Step 4 -- Due Monday, January 27
Before you begin, read this to understand previsualization through thumbnails and rough stages, the difference between a shot, a scene, and a story beat, and examples of rough thumbnail storyboarding.
Read this to help think about beginnings and endings:
By Monday at the beginning of class, post to the blog a one page treatment for your best idea. + a thumbnail and style reference for one key scene. Examples below.
Treatment:
A short, one page synopsis, with brief descriptions of what the viewer or user will see or experience (key scenes, visual styling, color, lighting, mood…)
Include a 3-frame thumbnail and an example of styling for one key scene only:
Monday, January 27, 2014
Contest --- not for class :)
Challenge contest — win a trip to Washington DC to show your stuff!
The Institute for Applied Creativity is partnering with the "From the Bow Seat" organization to host a challenge competition. The winner will present a hands-on exhibit for kids at the USA Science & Engineering Festival, Washington, DC, on Saturday and Sunday, April 25 and 26, 2014, all expenses paid, including an honorarium of $180. for your participation in the festival exhibit. This is equal to over $1000. in support of your work!
The winning entry will showcase intersections of art and design with science and engineering, or STEAM. We're looking for a hands-on activity for young people, to highlight the global problem of plastics pollution in the oceans. It's one of the most pressing challenges facing the ocean. There is so much plastic in the ocean that it can get carried on currents and form giant ocean garbage patches, and each day it kills countless sea animals and birds that ingest or become entangled in it. Degraded plastic is now microscopic, and has been ingested by some of the tiniest marine life.
The founder of From the Bow seat is a mother with two high school children, who wishes to do something about this problem for the sake of future generations.
The USA Science & Engineering Festival is the largest in the nation. The audience is primarily kindergarten through high school students and families. Attendance will be 8000 to 10,000!
Competition rules:
1. The activity should be light-weight, hands-on, and fun, using no food or toxic materials (and plastic only if it's recyclable and later recycled). It should be engaging for young people from kindergarten through high school (or a subset of this population, for example, a certain age group).
2. Supplies to create and exhibit are covered up to a maximum of 850.
3. Computer equipment if used, should be an IPad or laptop, with one optional large monitor. Microcontrollers and other peripherals should be supplied by the person, department, or organization. But it's not necessary the exhibit be digital.
4. Booth space is 10 x 10 feet, with a 2 x 6 foot table. Exhibits need to be contained on the table.
5. The winning exhibit will showcase intersections of art and design with science and engineering, or STEAM.
6. An estimate of the time spent by each visitor to your booth is perhaps 1 to 5 minutes, depending on how engaging the experience is. It will be crowded and fast-paced. Consider visual impact and/or take away items, for kids.
7. The exhibit should be family-friendly.
Before you enter, to become informed about the issue, please read and view the resources on these links:
About the USA Science & Engineering Festival:
http://www.usasciencefestival.org/
From the Bow Seat Organization:
http://fromthebowseat.org/details-art.php
http://fromthebowseat.org/details-essay.php
http://fromthebowseat.org/details-advocacy.php
About plastics pollution in the oceans:
http://5gyres.org/
Here are a couple of ideas from the organization (please feel free to interpret these)
Plastic Soup - Did you know, if you eat seafood, you're eating plastic too?
Animals endangered by plastics pollution can be an issue compelling to kids.
To enter:
1. Email a short description to Carol LaFayette <lurleen@viz.tamu.edu> Simply paste your description into an email rather than attaching a document. Include your name and department.
2. If your entry is selected for the final round, you will be invited to join a DropBox folder, where we will ask you to upload a budget and a sketch or image.
DEADLINE for email descriptions: February 10, 2014, 5pm.
DEADLINE for completed entries: February 15, 2014, 5pm.
The winner should be able to work with the IAC and assistants to deliver a successful activity, and should be willing to commit to the two-day exhibit.
Need more information? Email Carol LaFayette, Director, Institute for Applied Creativity, at lurleen@viz.tamu.edu
Madison Kelley, Step 4
CG Short: AquaLife? (title possible to change)
In a world ravaged by the impurities cause by humans, they seek survival underwater. Earth's atmosphere has become so toxic from pollution that life simply can no longer inhabit life on land. Humans have developed the technology to allow them to live in deep depths of Earth's seas, with advanced technology that enables them to breathe while submarined. Life is great; simple. Only myths exist of what life was like before marine life. The humans lived a very intricate city made up of a thick, glass like bubble for their life submerged. Life is great, beautiful, and happy.
Life on Earth was a thing of the past, until it became the only way for mankind to carry on life. Throughout the years, the sun consumed over a third of Earth's bodies of water because of global warming, threatening life aquatic. In hopes for a future, a brave team of scientists devote their lives to ascend into the toxic above. The best chance at a future is for humans to re-establish life on Earth.
On a brave mission, the scientists venture up onto Earth to see if life can survive above sea level. Will they be successful in their quest to once again save humanity? Or will life slowly deplete as the Earth's water does?
-2D visuals with sound overlaying the scenes
-Make the characters speak?
Character/Environment Style Inspirations:
Scenes:
Open with a very stylized, underwater scene of the aqua city depicting day-to-day life.
Pan around the city as the story of "global warming" begins to be read over the scene.
Scene with the team of scientists volunteering to explore the toxic world above them.
Team assembling and swimming up towards the Earth above.
The team struggles, losing one or more people on the journey upwards.
Ending scene 1/SUSPENSE: They emerge from the water, and the scene cuts with only the expressions on their face- gasping and astonishment
Ending scene 2A/ETHEREAL: They emerge from the water, then cut scene to the beautiful, ethereal city with a super lens flare effect.
Ending scene 2B/ETHEREAL: They emerge from the water, then cut scene to the beautiful, ethereal city with a super lens flare effect as they crawl up onto Earth and walk through this stunning unknown world.
Ending scene 3A/TOXIC: The team emerges from the water to [cut scene to the land] find the worst, most toxic/destroyed world they had always envisioned.
Ending scene 3B/TOXIC: The team emerges from the water to [cut scene to the land] find the worst, most toxic/destroyed world they had always envisioned. Ending scene depicts the team walking through the rubble of the past.
In a world ravaged by the impurities cause by humans, they seek survival underwater. Earth's atmosphere has become so toxic from pollution that life simply can no longer inhabit life on land. Humans have developed the technology to allow them to live in deep depths of Earth's seas, with advanced technology that enables them to breathe while submarined. Life is great; simple. Only myths exist of what life was like before marine life. The humans lived a very intricate city made up of a thick, glass like bubble for their life submerged. Life is great, beautiful, and happy.
Life on Earth was a thing of the past, until it became the only way for mankind to carry on life. Throughout the years, the sun consumed over a third of Earth's bodies of water because of global warming, threatening life aquatic. In hopes for a future, a brave team of scientists devote their lives to ascend into the toxic above. The best chance at a future is for humans to re-establish life on Earth.
On a brave mission, the scientists venture up onto Earth to see if life can survive above sea level. Will they be successful in their quest to once again save humanity? Or will life slowly deplete as the Earth's water does?
-2D visuals with sound overlaying the scenes
-Make the characters speak?
Character/Environment Style Inspirations:
Very blue/underwater- colored characters.
Adding in the "Vertical Farming" innovation, but into the underwater life. Normal agriculture from plants and sustenance to livestock are able to maintain life underwater with the humans.
Scenes:
Open with a very stylized, underwater scene of the aqua city depicting day-to-day life.
Pan around the city as the story of "global warming" begins to be read over the scene.
Scene with the team of scientists volunteering to explore the toxic world above them.
Team assembling and swimming up towards the Earth above.
The team struggles, losing one or more people on the journey upwards.
Ending scene 1/SUSPENSE: They emerge from the water, and the scene cuts with only the expressions on their face- gasping and astonishment
Ending scene 2A/ETHEREAL: They emerge from the water, then cut scene to the beautiful, ethereal city with a super lens flare effect.
Ending scene 2B/ETHEREAL: They emerge from the water, then cut scene to the beautiful, ethereal city with a super lens flare effect as they crawl up onto Earth and walk through this stunning unknown world.
Ending scene 3A/TOXIC: The team emerges from the water to [cut scene to the land] find the worst, most toxic/destroyed world they had always envisioned.
Ending scene 3B/TOXIC: The team emerges from the water to [cut scene to the land] find the worst, most toxic/destroyed world they had always envisioned. Ending scene depicts the team walking through the rubble of the past.
Mackenzie Dalglish, Part 4
Title: --
Length: 5-7 minutes
Medium: Short film (3D or 2.5D)
Objective: This short is intended to make people question why people enjoy being different, or if it is even good in the first place.
The short opens with a black screen. Sounds of an ambulance are heard, and several voices are heard, commenting that they "have never seen anything like this before" in panic. The sounds fade away, but before they're completely gone, the person in question is confirmed dead.
The scene fades to the face of a teenage girl, who looks bored. The camera cuts to a broader view, where we can see she is on a train or other sort of public transportation. There are near-repeats of many of the people, with differences only between generations. The train stops, and she gets off. After a few moments looking dazed, she blinks and looks around, realizing she got off at the wrong stop. She turns around to get back on the train, but it already left.
The place she has gotten off seems to be a slum type area, with a large chunk of it in shadow because it's in the lower layer of the city. She checks the times for the train to come back, but it won't be back for another hour. She checks her phone--which is flickering from the excess radiation in the area. Sighing, she leans against the sign. The camera fades, and the light changes, indicating passage of time. The girl stands up and checks her phone again, which has no signal, so she leaves the station and starts looking around.
After walking around, she spots another, light-haired girl squatting down, drawing something in the dirt. The camera switches to the teen's eyes, which widen. An old article flashes on screen, and flashes again, zooming in on the photo, which fades to a view of the different girl. The teen walks up behind her, and upon noticing her shadow, the different girl jumps up in surprise.
The teen girl asks where the next station is, or if there's a place she can call someone from. The different girl is silent at first, then grudgingly nods. As they walk together, the teen girl tries to make conversation, but the different girl doesn't really seem to want to answer. Eventually she opens up a bit. The teen girl starts to envy the different girl for automatically standing out, despite people gawking and avoiding her.
Late at night, they reach the next station, and the teen girl and the different girl seem to be friendly with each other. The say their goodbyes, and the different girl waves and smiles as the teen leaves, but her smile soon drops to a frown.
The scene cuts to the teen girl reaching her home, welcomed back by her near-identical brother and parents. She is happy to see them, but laments that they are all the same.
The camera cuts again to the different girl coming home. Her father is watching television and drinking, not even noticing she's home. She goes to her room and curls up, wishing she could be like the teen girl and be the same as everyone else. There are a few flashbacks of her memories.
There is a split-screen view of both girls, who wish they were in each other's shoes.
Visual Treatment: The majority of the film will take place at dusk, so most of the colors will be in a sepia/brown range. However, the scenes taking place on the train and the teen girl's house will be full of color. The scenes taking place in the different girl's home will be a mix of darker browns and lighter blues. To make the different girl stand out, she will look albino, while the rest of the world will have darker hair and eye colors.
Ana Espitia; Part 4
TREATMENT
TITLE: ... LENGTH: 5-10 min
WRITER: Ana Espitia MEDIUM: Short film
The objective of this short film is to provide the audience with a short version of something bigger leaving them wanting to know more about the story of the journey and how it could end.
In a world where technology has developed tremendously and living robots are assigned to every human being for protection purposes, will it be enough resource to defeat thousands of ships that hold millions of extraterrestrial beings descend from space. Who have come to earth to make it their new world.
The film will begin with a short text providing the viewer with the back story of the time period they will be introduced to. Afterwards it will take them to a time where the aliens have already trapped the humans and robots. The scene will start where there's a girl whose scared and an alien is about to kill her but that's when the girls robot attacks the alien killing him. Then it moves to they are able to escape and are running through the woods. After they are at a same distance the girl asks her robot "What about the rest of the prisoners?" the robot answers with "We'll figure it out..." then they start walking away through the woods again when they come across other humans and their robots who where able to get away before they where taken by the extraterrestrials. The film will and the humans and robots walking away in the woods.
Visual Treatment :
The overall look of the film will be most shots outdoors late evening when the sun setting and darkness stars taking over the environment.
Leif Seifert part 4. looking 4ward
Goal
The goal of this short is to portray the nature of idealistic hope and expectation contrasted against a more bleak and desolate reality.
Story
The short begins with a slow panshot right, away from a visibly distant city, and through seemingly empty space thousands of leagues down in the middle of the ocean. After about a second, the camera pans past an old, vertically aligned set of tracks occupying the space of the foreground. The cameras motions ceases once the tracks reaches the far left side of the screen, and after another half second, we see a dark blurry figure moving right, through the deep-space back ground. At this point the camera focus shifts, and we begin to recognize the figure as a young girl in a dive suit, swimming through the open water.
The camera cuts to a closer view of the girl and a highly kinetic sequence ensues as she gracefully flies through the water in a series of spins, loops, and barrel rolls. Slightly disoriented, she eventually comes to a stop and the camera (cut since the swimming sequence) begins to pan in on her helmet. we see her eyes inside the helmets casing dart right, and she rotates accordingly to face the object of her attention. As she begins to swim towards the shot and eventually off screen left, the camera rotates similarly and begins to follow behind her where we can now see the tracks located directly in front of her. She begins to inspect this obviously foreign contraption as she moves around it, staring in a sort of awe at its scale (it goes very high). While in a medium shot of her still staring up at the seemingly endless track, she suddenly becomes startled and jumps back, as a large canister rushes past her down the shoot. Naturally curious, she follows it down and eventually reaches a point where the track turns horizontally back towards her underwater city. Puzzled,she moves as if to return home, but suddenly stops as something again catches her eye. Turning and looking upward, she notices a small metal box (its a radio but hey she doesn't know that) slowly floating down towards her, independent of the track and seemingly lost within the enormity of the ocean. She reaches up and takes it in her hands, casting one last glance upwards toward the mysterious source of both the tracks and box, before turning and returning home.
The following scene depicts a high angle shot of the now considerably closer city, where we see the girl headed as she glides towards it from over the frame. The camera cuts to an interior shot of a door, which we see open as the girl steps through the entry way, helmet and radio in hand. She quickly rushes to find her parents in order to show off her new, mysterious treasure. As they turn to greet her she holds the radio high above her head and begins to retell her adventure through pantomime. She eventually points upwards with a look of wonder, contrasted sharply as the camera cuts to her parents faces which bare a look of concern. Cutting to a high angle shot of the girl, we see the parents swoop down and snatch the radio away from her, followed by another cut to a now low angle over the shoulder shot of the girl looking up towards her suddenly disgruntled parents as they pantomime their insistence on never investigating what lies above. As they turn to leave with the girls new radio, we cut to a close up of the girls face and see her contemplation about what has just been said. The camera cuts a POV shot focused entirely on the captive radio resting in her parents arms.
We next see an exterior shot of the front of house, where moments later the girl (again fully suited up) bursts out from with radio in hand. She swims towards and past the camera, which then cuts to the same city view from earlier as we see her now leaving the city. The next cut is to the canister arriving at its turning point, though now heading in the opposite direction, where we can clearly see it marked as "O2". The girl arrives not long after, and we see a moment of contemplation before she grabs hold of the canister on its track and prepares for its departure. As the camera slowly pans up, we see the canister begin to ascend with the girl attached, and it is not long before both are completely out of view. This is followed by a shot of the tracks as the camera quickly ascends with the tracks in frame, eventually catching up the child still holding on. The ambient light begins to grow brighter as both approach the surface. This escalation concludes with a complete breach, and we see the girl dazed and disoriented by this new setting. As her senses return, we see her ever present look of hope and joy turn to one of anguish, as her eyes dart back and forth taking in all that surrounds her. The frame slowly pulls away, revealing the destroyed world that lies above, as we understand her disappointment, just before the camera cuts to black.
The goal of this short is to portray the nature of idealistic hope and expectation contrasted against a more bleak and desolate reality.
Story
The short begins with a slow panshot right, away from a visibly distant city, and through seemingly empty space thousands of leagues down in the middle of the ocean. After about a second, the camera pans past an old, vertically aligned set of tracks occupying the space of the foreground. The cameras motions ceases once the tracks reaches the far left side of the screen, and after another half second, we see a dark blurry figure moving right, through the deep-space back ground. At this point the camera focus shifts, and we begin to recognize the figure as a young girl in a dive suit, swimming through the open water.
The camera cuts to a closer view of the girl and a highly kinetic sequence ensues as she gracefully flies through the water in a series of spins, loops, and barrel rolls. Slightly disoriented, she eventually comes to a stop and the camera (cut since the swimming sequence) begins to pan in on her helmet. we see her eyes inside the helmets casing dart right, and she rotates accordingly to face the object of her attention. As she begins to swim towards the shot and eventually off screen left, the camera rotates similarly and begins to follow behind her where we can now see the tracks located directly in front of her. She begins to inspect this obviously foreign contraption as she moves around it, staring in a sort of awe at its scale (it goes very high). While in a medium shot of her still staring up at the seemingly endless track, she suddenly becomes startled and jumps back, as a large canister rushes past her down the shoot. Naturally curious, she follows it down and eventually reaches a point where the track turns horizontally back towards her underwater city. Puzzled,she moves as if to return home, but suddenly stops as something again catches her eye. Turning and looking upward, she notices a small metal box (its a radio but hey she doesn't know that) slowly floating down towards her, independent of the track and seemingly lost within the enormity of the ocean. She reaches up and takes it in her hands, casting one last glance upwards toward the mysterious source of both the tracks and box, before turning and returning home.
The following scene depicts a high angle shot of the now considerably closer city, where we see the girl headed as she glides towards it from over the frame. The camera cuts to an interior shot of a door, which we see open as the girl steps through the entry way, helmet and radio in hand. She quickly rushes to find her parents in order to show off her new, mysterious treasure. As they turn to greet her she holds the radio high above her head and begins to retell her adventure through pantomime. She eventually points upwards with a look of wonder, contrasted sharply as the camera cuts to her parents faces which bare a look of concern. Cutting to a high angle shot of the girl, we see the parents swoop down and snatch the radio away from her, followed by another cut to a now low angle over the shoulder shot of the girl looking up towards her suddenly disgruntled parents as they pantomime their insistence on never investigating what lies above. As they turn to leave with the girls new radio, we cut to a close up of the girls face and see her contemplation about what has just been said. The camera cuts a POV shot focused entirely on the captive radio resting in her parents arms.
We next see an exterior shot of the front of house, where moments later the girl (again fully suited up) bursts out from with radio in hand. She swims towards and past the camera, which then cuts to the same city view from earlier as we see her now leaving the city. The next cut is to the canister arriving at its turning point, though now heading in the opposite direction, where we can clearly see it marked as "O2". The girl arrives not long after, and we see a moment of contemplation before she grabs hold of the canister on its track and prepares for its departure. As the camera slowly pans up, we see the canister begin to ascend with the girl attached, and it is not long before both are completely out of view. This is followed by a shot of the tracks as the camera quickly ascends with the tracks in frame, eventually catching up the child still holding on. The ambient light begins to grow brighter as both approach the surface. This escalation concludes with a complete breach, and we see the girl dazed and disoriented by this new setting. As her senses return, we see her ever present look of hope and joy turn to one of anguish, as her eyes dart back and forth taking in all that surrounds her. The frame slowly pulls away, revealing the destroyed world that lies above, as we understand her disappointment, just before the camera cuts to black.
Hailey Sanders - Step 4
TITLE: University (name will be chosen later)
LENGTH: 3~5 min
WRITER: Hailey Sanders
University is a commercial created to spread the word about the University while simultaneously bringing awareness to the gradual decay of individualism in society. It has become so easy to customize oneself overnight that identities and individuality are becoming a thing of the past.
The style will be simplified vectors combined with kinetic typography; as the narrator speaks, his words will pop up on the screen in an artistic fashion. The presentation will be very clean and minimalistic.
The narrator is like a motivation speaker, sending the message of individuality to the audience. The commercial starts out by reminiscing about the past, showing people with their unique identifying characteristics, whether it be colorful hair or an uncommon clothing style. The people are extremely simplified, similar to the people shown in bathroom signs. Their articles of clothing and hair, etc. are simplified and minimalistic as well.
“It used to be so easy to stand out. Look at this group of people. This person stands out because of their unique hair color, and this person over here stands out because of their fashion choice. It was easy to have an identity and to separate yourself from the masses.”
“Fast forward 100 years and we find ourselves in the present.” A person is shown wearing flashy garments and they have a ridiculous hair style, along with many other flashy accessories. “This person on their own would stand out absolutely no problem 100 years ago.”
The camera pans out to show a lot of people, of not necessarily similar style, but they are just as exquisite and “unique”. “It’s difficult to pick out our person from the others, as we are now looking at a conglomerations of overwhelming style and so-called ‘individuality’.”
The camera pans out until the screen is full of people, then it fades to black.
“Let’s find out way back to our original person. Let’s find our way back to you, In a society so bent on making themselves seen, how can you stand out? How can you be so different that when an employers sees you they see individuality? How can we make an employers say ‘now there’s someone who goes against the current. There’s someone SPECIAL!’? A degree from University sets you apart from everyone. Our degree says ‘I am a smart and capable individual who is ready to make a name for myself.’ Choose from a wide variety of degrees that cater to your specific tastes and will impress the job market. Visit our website at www.university.edu or calls us at (insert catchy punny phone number). Stop blending in with the crowd and make a name for yourself today!”
While the narrator is speaking, the kinetic typography is in action, drawing the viewer in with motion blurs and bright colors, but is still simple. The commercial ends with a black screen donning the University logo and their information. In the background an upbeat, instrumental song is playing, enough to give the commercial a less boring feel without overpowering the speaker and becoming the main attraction.
THUMBNAILS:
Leah Leiding: Step 4
TITLE: Tickled Pink LENGTH: 5-7 mins
WRITER: Leah Leiding DATE: 10/26/2014The goal of Tickle Me Pink is to take the stereotypical dark view of the future and give it a new light through the pranks and games of a young boy and apply it to the production through the use of grayscale and color.
The scene will open up to a black and white busy futuristic town. While scanning through the different actives of daily life, the camera is brought down to street level focusing on one boy, Rudy.
As Rudy walks down the street passing people, on this gloomy, "gray" day, there is heavy emphasis on the dark and dreary future. Soon he finds himself messing with his glasses. (Everyone in this futuristic world wears glasses, never assuming why or taking them off.) As Rudy's glasses begin to irritate him more and more, he dramatically rips them off revealing a whole new setting. Confused and started, Rudy quickly puts the glass back on and his vision is returned back to the street where he was. Curious, he takes off the glass again trying to figure out what is going on.
With each toggle of the glasses, color is introduced in this world Rudy didn't know existed. He takes off his glasses, leaving him in a room full of people in dentist like chairs with high tech googles on. Rudy walks around and started seeing people he knows.
First, he sees his brother and he pokes him. SWITCH to the gray world and the viewer sees Rudy's brother freaking out as he's being poked by an invisible force. Unaware that he has any effect on what is happening Rudy experiments and tickles his brother all over. SWITCH to the gray world and you see Rudy's brother spastically jumping around and laughing/crying (color slowly adding to the scene). On the other side, Rudy laughs and moves on the the next person.
Next he sees, his neighbor Fred. SWITCH to the gray world and you see Fred walking with his girlfriend in the park and get on one knee. At this moment, Rudy pulls down on Fred's chin and pretends to imitate him talking. SWITCH back to the gray world and as Fred is about to pop the question, only a bunch of gibberish comes out. His girlfriend is confused and frustrated. Fred keeps trying, (camera switches between him and Rudy) all the while color is filling the scene, and eventually Fred's girlfriend giggles and says "yes" understanding what Fred was getting at.
Scene's like these continue as Rudy moves from person to person, "bringing color" to the gray world.
Rudy has no idea what he has done but by the time he is tired out, he puts his glasses back on and sees that the world he lives in, now has been brought to life by the silliness he added to it. Rudy takes off his glasses and looks around the laboratory room with a smile. Satisfied and proud of himself, he puts his glasses on one last time and this time continues down the colorful street with a skip in his step.
Media: The style of the production will be a 2D animatic, styles similar to Disney's Paperman.
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| Disney's Paperman |
Justin Westmoreland
Title: Newtype
Length: 5-7 minutes
Objective: The objective of this animated short is to give a glimpse into what humans can accomplish but still relate that to how we ultimately result in conflicts through human nature. The main character is an exception to this proving that we can evolve and develop just as our technology does.
The first scene is a montage of the technology that has been built and the particles that allow humans to now effortlessly explore the universe and power their space settlements and high powered construction robots that are now being piloted for war.
We now move to a space settlement which has been found out to contain a secret military lab developing robots for war. One of the sides has decided to snuff out the lab and wreaks havoc on the settlement.
Our main character is desperately looking for safety in an escape ship, all while robots are fighting and searching for the secret lab. In his frantic search for the nearest way of escape he stumbles upon the newly unearthed lab. A new special robot is unveiled. With no other seemingly way of escaping our main character goes into the robot for refuge which in turn activates and powers on when our hero enters the robot.
An intense battle ensues where the young man must defeat two enemy robots. He desperately fights but somehow he knows how to use the robot instinctively. He ultimately defeats the robot saving the settlement from the attack.
The young man decides to escape off in a military ship meeting numerous soldiers that admired his fighting prowess. We can still see in his face that he is unsure which side is just, but fighting seems like the only way now to reach understanding.
Length: 5-7 minutes
Objective: The objective of this animated short is to give a glimpse into what humans can accomplish but still relate that to how we ultimately result in conflicts through human nature. The main character is an exception to this proving that we can evolve and develop just as our technology does.
The first scene is a montage of the technology that has been built and the particles that allow humans to now effortlessly explore the universe and power their space settlements and high powered construction robots that are now being piloted for war.
We now move to a space settlement which has been found out to contain a secret military lab developing robots for war. One of the sides has decided to snuff out the lab and wreaks havoc on the settlement.
Our main character is desperately looking for safety in an escape ship, all while robots are fighting and searching for the secret lab. In his frantic search for the nearest way of escape he stumbles upon the newly unearthed lab. A new special robot is unveiled. With no other seemingly way of escaping our main character goes into the robot for refuge which in turn activates and powers on when our hero enters the robot.
An intense battle ensues where the young man must defeat two enemy robots. He desperately fights but somehow he knows how to use the robot instinctively. He ultimately defeats the robot saving the settlement from the attack.
The young man decides to escape off in a military ship meeting numerous soldiers that admired his fighting prowess. We can still see in his face that he is unsure which side is just, but fighting seems like the only way now to reach understanding.
Sadie Long - Step 4
Goal: This film will kind of be symbolic of how uniting the world because everyone needs each other. Separation is not a future the Earth should deal with. It's dangerous to keep things from certain classes just because they can't afford it.
Media: Live Action film with green screen and very few CGI effects (still deciding on the CGI), maybe some animatic mixed.
Story: Remerge
Treatment:
BEGIN The story begins with the floating city about a dingy, earth city. It then morphs into the sky, but you can still see a sort of blurry figure in the sky. Then, a small black dot falls out of the invisibility into the dirty ground
SCENE 1 Begins with, a guy (not named yet) in a very dirty, dark alley. He is in a lot of pain. He is in white clothes, but has become really dirty in the alley. He doesn't know where he is at or how he got there. He can't move and the buildings around him are dark and grey. Not many people are around. He tries to move but he can't because he is hurt so bad. Someone finally notices there is a man hurt in the ally. It appears to be a young woman who is dressed in grey and dirt. The camera is through her view and she seems concerned and worried, but he can't seem to talk. She says something, but he can't understand her. He blacks out.
SCENE 2 The film cuts to a shabby, dingy room. He is lying on the floor with a blanket, and there is bowl of water. He can't remember anything. He tries to move but just shifts up in the bed. Suddenly the girl reappears, still dirty. She tells him he needs to be still to heal. He starts coughing again. She asks him who he is and why he is here very intimidatingly. He says he doesn't know. She says she knows he is from the Realm. She says it's dangerous to be here on the Surface. He doesn't understand. She points out his clothes. He's not made for this type of world. She helps him up to take him out to see if she can help him remember.
SCENE 3 It's a cloudy grey sky, and she brings him to a rundown park. He is now dressed in dark grey clothes to blend in. She pulls out a book from her bag, and he asks her what it is? She laughs and is surprised that he has never seen a book. She asks what he does remember. He still doesn't talk much. Just shakes his head. The book says The Great Divide. She asks if he knows what it's like up there. He still shakes his head. She opens the book.
SCENE 4 This is an old style animatic part of the film that talks of the social divide, how the government controlled states were the only ones with the most advances in technology, and the ones who could afford it, bought it. However, the technology became to great, not everybody could afford or have it. They weren't using it for good. So a great war started. It caused a great social divide of the world. It caused the aristocrats to flee the Surface up to the Realm where no one could see or hear from them. Unfortunately, they took the smartest and left the surface the fools. The Surface is on permanent black out as the Realm took the engineers.
SCENE 5 The animatic is over and is back on the girl and boy. The book doesn't say much but gives tips on how the Surface can survive because no one knows the lifestyle of the Realm. No one even knows where they are. She is asking questions of the Realm, but the guy still can't remember anything. She sighs and takes him back to her house. Still heavy coughing. (worse and more often)
SCENE 6 It's nighttime and the boy is sleeping and goes into a dreamworld. In his dream is multiple flashbacks of his life in the Realm and how beautiful and pretty it is there. Parties, white, clean and beautiful people flash around him. Where his name is finally revealed by a really pretty girl in a family setting. When his name is said, he jolts awake, his eyes flies open, but it is too late because he has died from being in the polluted air. So he lies there, still, cold and dead.
Style: I want this to kind of be a dark film. similar to a dark world kind of thing. And the animatic, kind of cartoony and old like the Deathly Hallows tale from Harry Potter. And for the Realm scenes to kind of be like the futuristic scenes from Oblivion, but for the most part, all the scenes for the Surface will be very washed out almost black and white, just faded.
Elissa Weaver- Assignment 4
Title: ...
Length: ~5 min.
The objective of this short
animation/interactive comic is to show the journey of a man fueled by
his passion of discovering the unknown. He goes through many daunting
obstacles that threaten to turn him away and it is up to the viewer
to find out if he finds what he is looking for.
Day1:
Camera starts off looking at middle
aged male protagonist bent over an open electrical panel. He seems
like a strong capable guy as he prepares a small long distance ship
for his journey. He stands wipes the sweat off his brow and looks out
to the horizon. The camera pans across a busy future metropolis on a
planet that is not earth for there are multiple suns and moons
littering the sky making it unclear what time of day it is. The man
looks to hologram like gadget on his wrist that says 14:15 am making
it more apparent he is on a different planet. He lets out a confident
sigh still looking towards the horizon and steps inside the ship. The
interior is well organized, he walks down a hallway, passing doors
that have words like “kitchen”, “armory”, “bath”, “gear”,
and “rest”. It is obviously not a large vessel, but a good size
for this one passenger. He gets into the control room, which is
littered with personal touches, like a coffee mug, stickers, photos,
an old map, and a hanging dashboard decoration. He sits in the seat,
and places a new picture onto the dash, which is a picture of he and
a young woman. He smiles and buckles in.
A hologram of a very complicated map
appears as the engines begin to turn on, various other smaller
holograms of various workings of the ship condition appear as well
which the man glances at. He is working with the map and finally taps
his desired destination which looks much less crowded than other
areas of the map. The time “7 months: 12 days: 5 hours” (*longer
time??*) appears as well which is obviously not so pleasing to the
main character, as he has a close up of a thoughtful face. Then most
more resolute he grabs the flight controls and finally takes off. A
shot goes back to view the ship and follows it as it leaves the
planet's atmosphere. The ship then blips as if in hyper speed and
blips again in a new part of the galaxy. The man turns on auto pilot
and leaves to go to a living room like area where he looks at maps.
Month 2 Day 23:
The man is seen from behind have a
holographic conversation with the woman in the picture. Then an alarm
goes off he says a quick good buy and heads to the control room. A
warning of solar flares appears, he straps in, and grabs the
controls. A series of shots show him expertly weaving in and out of
large flame like waves. The man is sweating at after he is clear of
the threat, and lets out a large sigh.
Month 4 Day 3:
He is now seen eating breakfast, when
another warning goes off. A hologram that states “Warning: Large
Dust Cloud: Shields Deployed”. He pauses eating as the room mildly
shakes and then resumes his meal.
Month 4 Day 16:
He is seen in another conversation with
the woman. They hold their hands as if pressed together then log off.
He slumps in this chair.
Month 5 Day 9:
He is seen in a space suit outside the
craft, parked on small meteor. He is working on a part of the ship
when another hologram warning appears. “Warning Unidentified Ship”.
A radar appears, as well as a grainy image of the ship and an unknown
sigil appear. The man appears to be in terror, and rushes back inside
not bothering to take off his suit. He punches some keys and “Cloak
Deployed” appears on screen and all lights go out within the ship.
A wide shot of a large intimidating ship pass right above the man's
minuscule vessel. We see him watch tensely with wide eyes as the
gigantic ship passes by. He continues to watch the radar, rigidly
standing as the threat moves farther away.
Month 5 Day 20:
Catch him sleeping. Another Alarm goes
off. “Warning: Cosmic Storm en Route”. He wearely gets out of
bed and hobbles to control room. He switches on screens and eyes
widen. The storm is huge and headed directly towards them. He begins
to preform multiple calculations, from fuel levels, to the strength
left in his shields. He bites his nails nervously, and slides slowly
into the seat. He notices a meteor field relatively near by and hopes
to find shelter there before the storm reaches him. He is tense for
hours, pushing his craft at all power to reach the possible safe
zone. “Time Until Contact: 20 Minutes”. He is sweating and takes
control as he flies into the meteor field looking for a decent place
to possibly land. “5 Minutes”. He looks ahead and sees an ominous
cloud too large to comprehend ahead of him. Bright sparks flash
across its great mass, as it billows at impossible speeds toward him.
He spots a Meteor with a crater large enough to fit his ship. He
lands, straps in, and turns shields on to full blast. The storm hits
with violent force. Lights flash everywhere. All goes black. He wakes
with an obvious headache, sirens blaring. He sees several areas of
the ship have been severely damaged. The worst of it being the oxygen
levels are going fast. He is stunned. He also sees on the map the
storm blew him shockingly close to his destination. He fixes up the
ship as best as he can, fires all engines and takes off, going full
speed to the planet, unknown if there is any oxygen. Oxygen warnings
continues, he puts on his suit. He is steadily getting closer.
Readings tell him there is indeed oxygen on in the planet's
atmosphere but unknown if it is suitable to safely breathe. He
continues anyway. Time is running out quickly, the leak is getting
worse. Time is ticking faster and faster and he is in emergency
supply and getting very light headed. His vision is cutting out...
Ahead of him he glimpses something
glowing in space, with the new planet right behind it. He has no clue
what it is, but it is obviously coming towards him, and is
unbelievably beautiful. Louder alarms sound, he is barely able to
prepare the landing gear. The giant creature appears to have arms
trying to grab his ship, it appears even brighter now. He can't stop
staring in awe. His breathing is in spurts. A wide shot reveals the
giant creature is surrounding the planet serpent like, reaching out
to the ship. It closer long fingers around it. “Landing in 5.
4....” A tear appears out of his eye, it floats, the false gravity
is off. He breathes deeply, everything goes white as the creature
embraces the ship, and he closes his eyes.
Anthony Criscione, Assignment 1, Step 4: Failure to Step
Title: Deadly Routine Length: About 30 minutes
Creator: Anthony Criscione Medium: Video Game
Story:
The year is 2054. People's homes are
integrated with computers, and many of their daily tasks are
completely and conveniently automated for them. You play The
Disruptor, an assassin and hacker known for using people's appliances
against them. With elaborate Rube Goldberg style schemes, you arrange
for something in your target's morning to go horribly wrong, and
disguising your murders as accidents in the process. The Disruptor is
a smart, but unhinged individual, with an extreme and unforgiving
sense of justice. The tutorial mission is a straightforward hit, paid
for by the cuckolded CEO of Happy Mornings Appliances. After he
tries to skip out on paying the Disruptor's fee, however, the
Disruptor embarks on a personal quest to discredit the appliance
giant. By sabotaging the homes of jaywalkers, shoplifters, and some
real criminals with Happy Morning's products, the Disruptor drives
the company into the ground, before ultimately killing the CEO in the
final level.
Tone:
The game is primarily a dark comedy.
The mission synopses describe the targets as generally horrible
individuals, but for the most part only actually guilty of smaller
crimes. This is meant to play with the darker side of vigilantism,
and the Disruptor as a deluded individual believing his extreme
methods are working towards a brighter future. The deaths can be
gruesome, but are still presented in a somewhat comical and slapstick
fashion, similar to the TV series "Pushing Daisies" (ABC,
2007 – 2009).
Gameplay:
Each mission starts with the player
being given a brief summary of the target and their daily schedule.
The player is then given a 3d model of the house, toggleable with
wireframe or not, and any surrounding property, with intractable
appliances fully rendered. Appliances can be set to start working as
intended, where the appliance does its normal task until told to
stop, stop working as intended, where the appliances ceases operating
immediately, regardless of how complete the task is, or overload,
where the appliance starts storing unsafe amounts of electrical
energy, and any further attempts to interact with it will result in a
violent explosion. Some appliances will have extra options, such as
sinks having a water temperature setting. Some houses will have more
appliances than others, and all will vary in floorplan.
The more obviously the player changes
the daily routine of the target, the more suspicious they will get
that something is amiss. If the target becomes too suspicious, they
will leave the house immediately, and the mission will result in
failure. The target will perform actions based on how necessary they
are to being ready to leave the house. "Daily" level
actions are things the target will normally do, but will skip if
moderately suspicious that something is wrong. "Necessary"
actions are things that the target must do to be minimally prepared
to leave the house, such as being clothed, and will ignore moderate
amounts of suspicion to perform. "At all Costs" are actions
that are unavoidable to ensure survival, such as opening doors or
moving through certain areas. At maximum suspicion and during
attempts to escape, targets will only perform "At all Costs"
actions.
An example solution to a hit, assuming
all common appliances are available: The target's morning proceeds as
usual, up until their morning shower. While in the shower, the sink
is set to flood the first floor of the building. At the same time,
the laundry machine is set to stop working, and fresh clothes are not
delivered to the bathroom. After the shower, the target notices the
lack of clothing, and must fetch some themselves, slightly increasing
suspicion. They will move toward the laundry room, whereupon they
will notice the flooding on the first floor. This will drastically
increase suspicion, but because being clothed is a necessary action,
they will press on towards the laundry room. At this point, the
refrigerator can be set to overload, transmitting a deadly electric
shock through the flooded ground, and killing the target.
Visual Style:
The game will be made in a
semi-realistic cartoon style, primarily using cel-shading. It will
look similar to Telltale Games' "The Wolf Among Us".
 | |
| The Wolf Among Us, 2013 |
.
Engine:
Currently unknown, but looking into possibilities with Source and Unreal engines.
Currently unknown, but looking into possibilities with Source and Unreal engines.
 |
| Rush, "Tom Sawyer", 1981 |
Reid Tracy - Step 4
Title: Jurassic Park 4: Park Harder (working title) Length: 30 seconds at the least
Writer: Reid Tracy Medium: 3D animationThe goal of Jurassic Park 4 is portray the growth of the relationship between a boy and a dinosaur, to share a heartwarming story, and to bring awareness to the rights of talking future dinosaurs.
Story
Segment 1: The film opens on a boy in his room playing with toy dinosaurs on his floor. He hears a noise coming from the house and goes to investigate. After looking into a couple of rooms he finally opens the door and is amazed to find a little dinosaur, cold and wet from the rain. The boy takes the dinosaur in, dries him off, and imagines how cool he'll be with a pet dino.
Segment 2: The dinosaur begins trying to communicate to the boy with its dinosaur noises to no avail. He then turns on the tv to the news channel where the newscaster is reporting that a cloning facility made lots of dinosaurs and shows them living in terrible conditions, saddening the boy and baby dino. The reporter then shows a wanted poster of the baby dinosaur, making him look exaggeratedly angry, saying that he's very dangerous and that he must be captured at once. A police car drives by the window, showing that they're searching for him.
Segment 3: The dinosaur motions that they must go to the facility on tv. The boy points to the window as if to say "But how, with the cops looking for you?" They ponder for a second and then the boy gets an idea. The next scene is of the boy walking down the road with a leash. The camera pans down to show the little dino poorly disguised as a dog. There is then a medium shot of the boy and "dog" casually walking by some cops who give them perplexed looks but just shake their heads.
Segment 4: The daring, disguised duo arrive at the secret dino facility and sneak inside. They look around and find the control room, but its locked by keycard. A security officer walks by and the boy grabs his keycard off his belt, and the dino bites off the wire connecting it to his belt. They use it and go in the room.
Segment 5: The control room is filled with monitors showcasing weak, dejected dinosaurs in cages. The baby dino sees his mother on a monitor and cries out for the boys attention. He looks, understands, and then searches the control panel for the release all the dinosaurs button. He finds a huge red button that says "Release all the Dinosaurs" on it and smashes it. Big huge doors open and all the captives quickly charge out of their cells, causing a commotion among the security guards.
Segment 6: The duo run out of the complex to find the mother and, after a few stampeding dinos pass, they find her and approach her. The baby runs up to her and they dino-hug and the mom begins to leave, but the baby looks back at his human friend, who made all this possible. The boy nods gently with a tear in his eye and the baby dino nods back. He leaves with his mother and they run off into the sunset. The End.
Style
The characters will all look fat and dumb and the overall look will be round, geometric, and cartoony.
John Schmitz Treatment
Treatment
Title: Eternity
Media: ~10min short film
Goal:
To explore the scary future of prolonged life and what it
means for society.
In a
future where life expectancy is no longer a meaningful term and life is
prolonged with the use of technology, World leaders brains are backed up onto
computer systems which stagnates the evolution of power structures. Because regimes
no longer fall following the death of the leader, assassinations, organized revolts
and coups are a common occurrence and the struggle between those with power and
those who want it is increased exponentially.
The story
follows the actions of a special operations soldier who has been tasked with killing
the supreme dictator of Russia by an opposing faction within the communist
party. The Dictator is one of the worst the country has ever known, and the prolonged
lifespan has only solidified his power and influence. If he isn’t killed soon
it he might never be stopped.
This scene follows the main character as he infiltrates the area where the dictators consciousness is kept on computer and he tries to delete it.
Sunday, January 26, 2014
Sarah Greenlee - Part 4
series of commercials for Remembrall by Pyxis Innovation
The goal of these commercials is to create interest in the Remembrall, a product that allows one to relive their memories through glasses. By using a highly stylized Flash-style animation and a juxtaposition of the future sic-fi world with the current world, viewers will easily be transported through memories that will relate to all audiences.
The commercials will open in the characters' current world (sic-fi world) and zoom into the Remembrall glasses, cutting to the memory that takes place in their past which looks like the current world today.
Commercial Pitch one opens in a futuristic park where an old man is walking his overweight and also older dog. The camera then pans to a front view and zooms into the Remembrall lens and cuts to the memory world where the man is much younger and adopting his puppy. From this scene, the camera zooms out and cuts to the ending bumper image containing product logos, etc.
Commercial pitch two opens in space following a couple who is being married on the moon. The camera pans around and zooms into the lens and cuts to the couple as children. The camera zooms to their hands as the boy struggles to reach for hers, then finally doing so. This then triggers the camera motion back out and cuts to the image.
Commercial pitch three opens in a futuristic home where a mother's son is leaving for school through a portal the camera zooms into her Remembrall and cuts to a home where the child is learning to walk between his parents. Next, the camera zooms back out and cuts to the image.
Commercial pitch four opens with an old man looking upon a toxic waste deposit, zooming into his lens the scene cuts to him fishing in the same spot as a child before cutting out to the ending image.
All commercials will consist of a voice over that describes the Remembrall.
Visually, these commercials will contain a very recognizable style that will easily inter-relate the commercials as well as the brand. Varying the two worlds will successfully depict what the product does in a quick, obvious manner. Using bright colors and a cartoon animation, the audience will be easily drawn to the advertisements and the product with the catch phrase "Don't just remember, relive." tying the bow upon the Pyxis package.
#1:
The goal of these commercials is to create interest in the Remembrall, a product that allows one to relive their memories through glasses. By using a highly stylized Flash-style animation and a juxtaposition of the future sic-fi world with the current world, viewers will easily be transported through memories that will relate to all audiences.
The commercials will open in the characters' current world (sic-fi world) and zoom into the Remembrall glasses, cutting to the memory that takes place in their past which looks like the current world today.
Commercial Pitch one opens in a futuristic park where an old man is walking his overweight and also older dog. The camera then pans to a front view and zooms into the Remembrall lens and cuts to the memory world where the man is much younger and adopting his puppy. From this scene, the camera zooms out and cuts to the ending bumper image containing product logos, etc.
Commercial pitch two opens in space following a couple who is being married on the moon. The camera pans around and zooms into the lens and cuts to the couple as children. The camera zooms to their hands as the boy struggles to reach for hers, then finally doing so. This then triggers the camera motion back out and cuts to the image.
Commercial pitch three opens in a futuristic home where a mother's son is leaving for school through a portal the camera zooms into her Remembrall and cuts to a home where the child is learning to walk between his parents. Next, the camera zooms back out and cuts to the image.
Commercial pitch four opens with an old man looking upon a toxic waste deposit, zooming into his lens the scene cuts to him fishing in the same spot as a child before cutting out to the ending image.
All commercials will consist of a voice over that describes the Remembrall.
Visually, these commercials will contain a very recognizable style that will easily inter-relate the commercials as well as the brand. Varying the two worlds will successfully depict what the product does in a quick, obvious manner. Using bright colors and a cartoon animation, the audience will be easily drawn to the advertisements and the product with the catch phrase "Don't just remember, relive." tying the bow upon the Pyxis package.
#1:
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Style References:
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