Last week we showed you a few of our concept sketches from Gran’s kitchen. This week we wanted to show you some concept art of the outside of her house – where Pete runs to get help. Although we have a lot of the village designed and made in 3D aleady, Gran’s house is going to be ever so slightly different – more welcoming and homely, with a few more ‘props’ needed.
It has been a while since we were at the sketching stage, but now that the assets and environments from the first half of the film are well under way, we decided to revisit the locations not seen until the end of the film – Granny’s kitchen and the outside of her house.
There have been plenty of posts on the progress of the living room, but these images below are probably the ones that most excited us. To see the room with moon light and other atmospheric lighting really brings the world to life. The image below shows the main environment lighting tests – moonlight and the upstairs light shining down.
We put this shot at the top as we knew it would catch the eye – and it is one of our most atmospheric shots in the film. Traditionally in stories, the crossing of water is symbolic – of entering a new world – in this case, the Beastie crossing from the ‘dead’, baron land around his cave into the safe, warm land of the village. Although this shot is still not final, you can see the considerations taken when compositing it below…
We gave you a little update on the Beastie’s cave scene a few weeks ago but one of the huge tasks that we faced was building the forest that stretched from beyond the cave. You will have noticed in our last post about the cave that it features a tree – this is our master tree – the one that all other trees are based on.
Back to the bedroom for the last time! We have been busy texturing the room, walls, doors and props. With the room laid out now, we started to realise that it may not be necessary to texture every prop and part of the room – unfortunately items such as the toy balloon and helicopter hanging from the ceiling would no longer be seen in shot! Although this was a shame, we were relieved to save some time on the texturing work!
With the bulk of our 3D environments and characters now built, and ahead of the texturing of the children, we had our first look at what the characters look like in their environment. As the children interact quite a lot with the surroundings (especially when they hide) it was very important to ensure they were the correct size, or at least the correct proportion for that shot. We did this by placing them in some of the key places they needed to go, and next to each other to gauge their relation to one another, as you can see from the images below
Like us, you will probably be pleased to hear that there will be no more posts on the village after this one! We have completed the modelling and texturing of all village props and assets – the next stop will be laying them out and lighting the scenes. And where best to get texturing inspiration than from a holiday in Disneyland Paris…!
We have been a little quiet on revealing one of the key locations from the film: the Beastie’s cave. While a lot of work has been going into the village and interior locations, we have been quietly working away on the cave and it’s surrounding location. This post will cover the whole process that saw the cave go from concept art to final 3D model.
The downstairs room is ALMOST complete! We have built all of the 3D assets, we have decided on the colours and textures – the final piece of the jigsaw is texturing them. Our fantastic texture artists Boyan and Ilektra have been working overtime to get each object unwrapped, textured and wrapped up again, ready for Jon to position them in the frame for lighting tests.