Updated entrance table. This is the table on which Saul will place the photograph of him and his mother, and where the rotary phone will rest. This table is finalized and ready to be textured. We adjusted the design to be more simple than previously.
The couch needs to look sloppy and sad. The second couch has only two seats. I am learning substance painter to apply texture to the model. I played with adding discoloration in places where drinks could have been spilled. The floral pattern is reminiscent of the 70s.
Updated Kitchen Concept art to remove the light from the window and make the lamp the only light source. The colors in this film have to correspond to the protagonist's state of mind. Therefore, the film will progress from a darker tone - to the darkest moment in which the mother dies - to the ultimate redemption and warmth of his decision not to commit suicide. The colors go from a neutral, dark blue to a grimy green (adding a little warmth in the form of yellow hues to the
Designs for the curtains in the living room. I explored a combination of different sized, humble curtains, as well as a few other types of window treatments. We settled for short and bare curtains that are torn and worn to represent the mental state of Saul and the rest of the house. Blocking in some props to populate the scene. These T-shaped windows will cast an interesting light and shadow shape on the living room.
The apartment layout with placed props, ready for visual blocking. The props were modeled by multiple team members. I resized the walls to correspond to the room ratios that worked best in the light studies. I integrated the windows into the walls and began to add baseboards. My team-mate, Austin, took over the baseboards and added them to this final model. I also organized the files to prepare for the 3D pre-viz to make sure everyone is on the page. I organized a system o
Update to the title sequence. This time, the sequence tells the gradual story of what once was and what the house has now become. It begins by establishing the gloomy mood of the living room, later to be juxtaposed to the same space brightly lit up by the dove's light. After the establishing shot, we slowly move to an array of photographs hanging on the walls, illustrating better times. The next image is that of a drawing hanging by a magnet on the fridge. This is Saul's draw
Th first poster initially illustrated the ending, in which Saul decides to take the first step and go outside. The second poster focuses on a side character rather than dealing directly with Saul. It illustrates an important part of the story, namely the memory sequence and alarming nostalgia associated with it. The last one alludes to the importance of the mirror and gives the feeling of abandonment of something that Saul was once fond of.
A concept painting to visualize the first memory, and the first time that the orange light appears in the otherwise blue and unsaturated scene. Saul stands in the shadow, minimally illuminated by the light of his memory. The main light source is the orange lamp that the dove will have previously transformed into. The colors are warm and bright, with violet shadows, yet contain some murky greens to keep an emotional and uncertain edge to the suddenly bright scene. Exploring co
I explored different designs for the mother's outfit. Her character has to portray a working mother that spends a lot of time trying to earn money to pay the bills. However, she also has to be rather lower-middle class and show that she is desperate to keep her life together. A classic working outfit for the 70's. Capri pants with a polo working shirt. I explored muted warm colors because the scene she will appear in is lit by a bright orange light, and cool colors would appe