Wednesday, 1 June 2011

The Picture of Dorian Gray. Major Project hand-in

I'm pretty darn happy with the outcome of this but once feedback arrives, expect a slightly a improved version. For now, it's a couple days of relaxation. Next big challenge will be my showreel! I'll write a post about my thoughts, feelings and plans in near future.

15 weeks of intense labour finally over and my time on CG Arts and Animation comes to an end! Huzzah! Thanks and high fives for everyone on the course!


Jordan Buckner said...

Congratulations Tom, looks amazing and love the unique approach. Looking forward to the showreel :)

Z Moat said...

High Five G.

Great Job!!

Richard V-C said...

Well done Sir Thomas Beg.

J.J.*Jolanta Jasiulionyte* said...

High five indeed :]

Tom Beg said...

Thanks everyone :-)

tutorphil said...

okay Tom - some New Designers-centric suggestions for Dorian's continuing journey to filmic loveliness...

The cut between the portrait and the artist's desk feels harder than it should; I suggest you delay the cut to the desk so that the dialogue 'some little distance away' begins before we see the desk itself. It's a tried and tested technique of smoothing hard edits in documentaries and film by already starting the dialogue from a following scene while the previous scene is still on screen; just try it and see if it softens the overall impression. I think a similar approach would lend greater silkiness to the 'How sad it is' transition. I'm just talking a couple of frames - just try and see

Transition from button hole rose to cg rose - can it be made more seamless - literally as if the painted rose extrudes more closely?

tutorphil said...

The blooming rose animation has always felt too over-exposed and bleached out - could you address the lighting to make it feel more papery/translucent etc., and so in keeping with the other images of roses throughout film?

Okay - this is a bold suggestion, but I'm going to make it anyway. There is something not quite right about the mutoscope footage and theatre scene. I wonder if you could approach the theatre scene in a similar way to the collapsing houses/motion graphics sequence - i.e. that as the voice track plays out, the theatre is somehow assembled before our eyes - with the moon, the balcony, garden, trees, fountain, sculpture all appearing in a very flat 'cut-out' way - just enjoy letting the scene build. Painful though it may seem, I'd just advice re-booting the entire theatre-based scenes - and use the rest of the animation as a guide re. the most appropriate approach.

Okay - on the Sybil Vane poster dissolves, I suggest that we pan out of the first full look at her face; and then match that to a pan out from the poster; in editing terms, it doesn't make sense that once we've been up close, we should continue to pan towards the image, as the narrative is about revealing more info each time, not less - so @ 2.08 you're panning gently out (as we apprehend her beauty) and @ 2.10 we continue to pan out to reveal her identity.

@ 2.19 fade locket up out of black

end closed lock scene by fade to black
begin vase scene by fade up from black - also, again it seems odd that we're zooming toward the vase itself (closing out the roses) - this zoom should be reversed.

@ 2.56 fade image up out of black to synch with 'rumble' of soundtrack

@ 3.11 - kill off silhouette! Again is there an approach more bold than this - motion graphics? - to create the content for this scene? If not, kill off the dialogue completely.

The Opium Den scene needs greater bone structure in terms of editing; the increasing overlays should perhaps reflect Dorian's increasing intoxication, so can I suggest the editing starts cleaner - more synched with the music - and slowly blends/merges as the soundtrack itself blurs? Currently, the same visual texture is created throughout and you should aim for a greater sense of escalation/deteroriation.

tutorphil said...

Murder scene - be more decisive; let the camera be still, while the shadow rocks; use the mirror as a mirror, reflecting suggested movement; cut boldy. You may need to create additional cg content to lend further variety to this montage, as the effort to construct content through editing starts to tell.

You might want to render out a new scene that mimics the pov of Basil as he slumps against the wall, and falls, looking up at the portrait on some titled angle

@ 7.15 finesse your editing so that the pulsing of the portrait + close-ups synch with the pulse of the soundtrack precisely; it will add further momentum and inevitability to this sequence. In addition - as you cut between the zoom into the portrait and the close-ups, ensure that when we return to the full portrait, the viewer is identifiably closer to the portrait than before the subliminal shot; at the moment, when we jump back, our sense of getting closer is not as emphatic as it could be. I'm guessing you're splicing the close-ups into the animated sequence, but not removing any frames between splices - you should, it will add punch to this montage.

The swimmy pull-back after the picture is stabbed feels as if it should be uninterrupted 'stagger away' - currently you cut back again, but this shot would work more effectively if it mimicked Dorian staggering away from the portrait across the attic floor.

On final close-up of rosepetals (loathsome) you should fade into black and then fade the mid-distance shot of petals back out of black prior to dispersal by wind; again, this will soften the jump in/jump back feel of this shot.

And finally! Allow your animation some darkness and space before your end titles.