This is my first post chronicling the work and struggle of designing the Panda Mech’s for the Panda Girls film.
Nick and I discussed at length what these Panda Mechs should “be” well before we discussed design. He talked about how the Panda Mech is the star of this movie the same way the mechanical shark was in Jaws, the alien puppet in ET, or the CG dinosaurs of Jurassic Park. He felt that since our budding crew had only a few credits under their belt we wouldn’t have the draw of a popular actor. Nick’s choice of making the Panda Mech the front-face of the project, I think, is rather prudent.
But this puts a lot of pressure on my role as the Panda Mech’s primary designer.
These are some of the elements Nick and I discussed about what the mech should “represent” in the minds of the audience. They should”
embody Panda-like design elements
have more natural materials than the manufactured variety
play with the black vrs white, yin yang motif
be a size that the girls can fit into
be a size that the girls can interact with (beauty and the beast)
appear “at the ready” for action
be “endearing” (but not overly sentimental)
“seem” to have a soul
“seem” to have individual personality
carry a Buddha enlightened quality about them
This list is ordered from the easiest to “capture” in the design to the more difficult. Those last few points on the list will be the most challenging of all. To be honest I have notions of how to acquire these qualities in the design, but I know it will take several attempts and iterations before catching lightning in a bottle, so to speak.
I’ve worked with many directors and game designers but Nick has always provided a vision that isn’t just paying attention to detail, but possesses an absurd harmony that really has the potential for capturing the audience’ imagination. It’s why I decided to come aboard and work with Nick on Panda Girls... I feel charged with a vision that will not only challenge me, but if I can capture it visually I will have contributed to a project that may connect with an audience the same way I’ve connected with certain films over the years.
I wasn’t happy with what I had before. Initially I had something much more grand that my previous interior shots so I did it up in this version: I’m not sure about timing; I’m thinking that I’ll start to play around with timing of these shots in Adobe After FX considering it’s a little faster than editing keys in Maya. I find the timing of camera moves, and the way the ease in and out is a delicate matter.
I also try my best to guid the viewers eye from one element to another in a moving shot. I’ve done a few where there’s “white space” or just nothing really to rest your eyes on, and the shot failed miserably. Now I think in terms of hotspots for the eye, and I place elements of interest strategically throughout.
3D really gives you an advantage in that regard. There’s no cost to “dress” the scene… just the time you are willing to put in. So I really take advantage of that and place elements that we’ll know have to be there months before we start principle photography.
On another note, I also did the website for Tapt: http://tapt-online.com. This is a comic strip that follows the mis-adventures of our small film crew. It’s not an attemtp at a realistic depiction but more of a crazed alternate-reality version.
And by alternate-reality, I mean it’s ALL true. =P
So I loosley modeled what the inside of the temple might look like. Vrey basic at the moment. I have a few ideas for some interesting archetecture based on a TON of reference photos I’ve been collecting over the weeks.
Oh, a note on the music. Donovan’s track only lasts 1.5 minutes, so it’s just looped in there. Pretty crude, I realize - but it’s a process. =)
Stay tuned for more shots of the interior on my next post.
If you haven’t been following along, I’m composing shots in 3D animation to previsualize the Panda Girls movie we at 2nd Culture are producing. If you’d like to follow along with the script you can read the 10 page teaser here.
It’s definitely a nice feeling when you see something is coming together. The first two shots didn’t work together. I mentioned some reasons in my last post. This version I feel rather confident with. That isn’t to say I don’t feel that it can’t be rethought, tweaked, or edited, but that if these shots were brought to completion, they would PLAY.
There is no doubt that music helps. (And by help, I mean profoundly – to providing a tone and emotional context for what you are seeing.) I’m always amazed when I put music to images. Donovan, our 2nd Culture composer and performer, had a few old tracks he wrote a while ago, and sent them all to me. His sketches weren’t written for Panda Girls, but I rendered out several versions of these first few shots, all with different music – and WOW.
I mean, I’m quite aware of music’s impact, but remembering what Ben & Jerry’s taste like, is never the same as being in it, elbow-deep.
Donovan has been rather busy. Involved with two orchestras, (CPO & KS), and several other projects, he’s a busy guy. I’ll keep shovelling shots/animatics his way until he’s inspired; that, or until he feels overwhelming guilt. o.O’
I’ll try and get a few more shots for next time… I’ve got some ideas for when we enter the ruins.
Ok… Here’s my suggestion before you watch this video. If you have the Last Samurai soundtrack, then fire it up and play it simultaneously with the video. I’ve got a version of these shots WITH that track as a “placeholder”, and it obviously makes a huge difference.
Our composer, Donovan, will be writing some incredible scores in good time. I'm totally juiced to hear what he's got planned.
I’m currently not happy with these first two shots. The first shot I’m happier with. I feel that the reveal of the footprints in the snow is timed well, and the camera moves (albeit CG, and requiring a “real-world” touch), work well. I feel the shot is strong because I staged and staggered the reveals with strong composition, and good tempo.
The second shot is where I feel it all fall apart. The reveals are there, (foot prints, stairs, vertigo from the height, the broken bridge, and the path to the Temple ruins at the mountain top), but they aren’t working. Here are my thoughts:
1) I feel there’s an issue of timing. The shot is too long. I want the first three shots to get shorter as we progress, then start to stagger my shot timing after, depending on the subtext established by that point.
2) I’ve revealed a lot in the last shot, and this next one I should focus the interest more - have something clear to say. So rather than “repeating” the footprints, and again with stairs, or showing the vertigo, I should focus more on the bridge reveal, and the temple above.
3) Position in space is unclear. I should hand-off from shot one to shot two with a landmark. If these were random shots of vistas, I would have a lot of freedom. But since I’ve established my “goal” almost immediately (temple), in the end of the first shot, then each shot should be positioned with that in mind.
There are a few other elements that I can “feel” uneasy about, but I’m not yet able to articulate. I’ll jump back in and correct the above.
If you have suggestions, please comment. Do get some music to listen to, as you watch though… The shots feel like an eternity when viewed in silence.
PRODUCTION DAILIES 
