DUST-TRASH | erlance

DUST





	Second Poster Updated version of the second poster with added effects
Poster Render Rendered pose of Saul for the poster










	Style Frame A rendered styleframe with painted effects to explore the look we want to achieve after compositing. The main light source is coming from outside of the house to signify that there is hope even in the most dire of situations - Saul only needs to be open to seeing it.	Poster Draft
Poster Draft	Updated wall texture with painted shadows and smaller bumps	Updated Wall texture
Curtain	Wall Texture First Pass
Floor Texture first pass	Book Textures	Seq 100_50 Lighting Used a photometric light to resemble a 'heavenly' light. Maya crashed every time I'd change the light's softness, so the shadow is still too harsh. Also added a rim light and turned the bookshelf so the composition guides the eye to Saul instead of away.
Seq 100_50 Lighting Changing positioning of light to better frame his face.	Seq 100_50 Lighting Adding bounce back light (two area lights)	Seq 100_50 Lighting Establishing main light source
General Living Room Light	General Living Room Light Playing with translucent curtains to add dimension to the shadows cast by the windows	General Living Room Light
General Living Room Light	General Living Room Light	Maya was exhibiting bugs when referencing so many elements, so we ended up importing everything into the file. I reorganized the filing system and cleaned up the outliner, rigging a few objects on group nodes for easy movement.
Layout Updates Most of the models are completed. I referenced and placed them into the scene, keeping composition and camera angles in mind.	Lights and Textures I've applied blocked in textures and lights to the scene. We got Saul's textures to work with the new lights. I moved the table and the spotlight to partially fall on the table and lead the eye to the main character.
Lighting and Texture Test I added more area lights to fake bounce off lighting and add more light. However, the character's subsurface scattering made the environment seem to glow in this new light set up.	Lighting Test When I textured the walls, the lighting bounced less and therefore didn't light the scene enough.	Lighting Test
Lighting Test 3 Lighting test using the new textured couch. It is still too flat. I will experiment with adding more, smaller lights to fake depth and environment.	Couch Texture	Couch Texture WIP. 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.
Mirror Updated model of the mirror with a little more detail in the framing, but still remaining light enough for Saul to move it. I also sized it down compared to the rest of the environment so it seems less heavy for him to drag it.	Lighting Test 2 Instead of moving the windows, I tried adding a secondary spot light to cast more light on the table, but it doesn't make sense for it to do that, and it looks too busy.	Lighting Test: Moonlight This is a test to position the main light in the scene. For the windows to illuminate most of the room and to overlap the shape of the table, they will have to either be moved closer together or remain as they are if the light is cheated and affected by a different piece of geometry.
Entrance Table: Wireframe This table is finalized and ready to be textured. We adjusted the design to be more simple than previously.	Entrance Table 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.

Poster - Blank After discussing with the crew, I made a few minor changes to the poster. Another member will be taking care of designing a logo, so this version is blank and without text. The changes made include sharpening the floorboards and mirror edge, adding more dust particles in the light, moving the books over, an making the floating particles look less oval, which had made one combo look like it was forming a heart.	Color Script 2 After a quick discussion with the crew, I tried a greener first sequence, but now it looks too much like it is happening underwater, so we will continue reworking it.	Color Script 1 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 blue) and then ultimately end with a stronger yellow. The last scene introduces warm reds and pinker skintones.
Couch Model Updated couch model to look more saggy and sad.	Couch 2 Changed the second couch to only have 2 seats, and also made it saggier to fit in with the look of the house. Texture still temporary.	Kitchen Concept Updated Concept art to remove the light from the window and make the lamp the only light source.
Curtain Designs 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.	This table is placed in the entrance hall, and will be part of the final scene in which Saul decides to turn his life around.	The mirror has to be as simple and humble as possible. It needs to be light enough for little Saul to pull, and be an important object because of the way it's used, not because of its extravagance.
The toothbrush will be placed in the kitchen to signify that Saul never enters the bathroom unnecessarily.	Prop Blocking Blocking in some props to populate the scene. These T-shaped windows will cast an interesting light and shadow shape on the living room.	Layout 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 of referenced master files so the prop modelers can continue to polish the props while the layout stage already begins.
Layout 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.

Poster 3 This poster initially illustrated the ending, in which Saul decides to take the first step and go outside.	Poster 2 This 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.	Poster 1 Concept design for the poster. This one alludes to the importance of the mirror and gives the feeling of abandonment of something that Saul was once fond of.
ColorKey: Final Sequence This scene has been deleted from the story, but it was initially an exploration for the color of light to be entering the room from outside. The saturated yet gloomy blues contrast with the bright and possibly warm light to give the feeling of freedom and release.	ColorKey: Bathroom Memory Exploring colors to make the scene seem gloomy and moody. I ran into the problem of having to sacrifice depth for light because objects were hard to see. We settled for a combination of both, with the turquoise overtone but returning some of the stark shadows.	Visualization of First Memory 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.
Couch Model Blocking in the model of the main couch in the living room to prepare it for more texture tests, specifically to make it seem run-down.	Anne: Skirt Colors As a compromise, I tried a polo shirt with a long skirt. We have to keep in mind that pants are easier to animate. Although warm colors suit the scene best, a denim-colored skirt seemed to appeal to the studio, so we will ultimately go with a pink shirt and blue skirt or pants.	Anne: Dress Colors For variety, I explored a dress-costume as well. It has pockets for functionality and to stress the fact that she is constantly working. I tried a wider variety of hues, but still prefer the reds.
Anne: Pants Colors 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 appear murky under it.	Anne: Costume Sketches 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.	Living Room: Mirror Concept Art Concept art for the climax sequence in which Saul moves the mirror away to reveal the bird. The scene has to be dreary yet have the potential to seem hopeful, which is accented by the flowing feathers/dust particles. The fallen books signify that Saul has let go of knowledge and has been overcome by pure despair partly because of it. The wall shows signs of having had a wallpaper adorned with roses and other flowers.

Living Room Color Concept Update of the living room concept painting. I tried seeing what it would look like if the kitchen window would emit light. Also, I upped the contrast with the main light source in the living room, and changed the shape of those windows to reflect the shape we chose this week (T-shape).	Bathroom Light Study 6 There needs to be a little more reflective light to allow us to see younger Saul on the floor	Bathroom Light Study 5 Trying out placing the main character (older Saul) in the scene. His silhouette casts a stark shadow on the floor, breaking up the composition of the floor.
Bathroom Light Study 4 Would it be too overpowering if the light came from the bird as well as from the hallway, in which case there'd be a feather trail? The team decided that we want to keep the feather trail, just not as prominently.	Bathroom Light Study 3 The door opening inwards works better, because it focuses the light on the limp arm and allows for a better silhouette.	Bathroom Light Study 2 Experimenting with the way the door opens in or out of the bathroom, and what that would mean for the lighting and the framing.
Bathroom Light Study 1 Establishing shot of the bathroom. Experimenting with light sources. Main light source has to be the entrance door, but I tried adding a window on the opposite wall. I think it distracts too much from the silhouette in the main shot angle, so I decided against using the window as a major light source.	Window Sketches Deciding on which style of window we want to use in the living room. The more complex ones would add more interesting shapes and shadows, as this is our main light source, but it would also make the scene too busy. The simpler windows make more sense for the financial situation of the protagonist, but they might be too boring.	Hallway: Shape and Lighting Studies Figuring out the essential look of the hallway. The door represents the freedom that Saul attains at the end of the film. I played with making the stained glass window in the door look like a prison or bird cage, so that Saul can metaphorically leave his mental cage. I also experimented with different widths of the hallway, shapes of the side table, and the presence of another bedroom door at the wall, as well as whether or not we would want another lamp somewhere in the room.
Environment Concepts for Titles Environment concept sketches for the title credits with a focus on storytelling and setting the tone of the scene. The most important aspects of the environment to be established are the exit, the look of the dusty living room, and the drug paraphernalia.	Couch Designs Couch concept sketches. Experimenting with a combination of 2 and 3 seat couches, textures and materials (fabric vs leather) as well as how we will make the couch look torn and worn.

Living Room Concept Painting Concept painting to incorporate the previously explored alterations to the living room. The main light source is the moonlight from the two windows. The foreground is washed in blues, and the kitchen is lit up in nostalgia, with tones that are warm, yet the shadows somewhat cool (purples). The couch is tattered and worn, but also has some warm tones that can be brought out after the light returns to the environment in the end (purples that can go from cool to warm).	Concept Sketches: Living Room Concept studies for the living room. I played with different placement of furniture and light. The room looks more in disarray when tilting and offsetting the placement of the couches. Also, I divided the window into two separate ones, so that Saul can sit in partial darkness and partial light.	House Layout Altered house layout to remove extra room, make living room smaller to frame the scene in the kitchen better, and to skew furniture to show signs of the house being in disarray.
Kitchen Mood Painting Mood painting of the kitchen. The warm colors seem nostalgic, yet the murky greens and dark blue shadows add a grungy and forlorn feeling to the warm palette.	Character Design Initial design sketches for the three characters

DUST

Second Poster

Updated version of the second poster with added effects

Poster Render

Rendered pose of Saul for the poster

Style Frame

A rendered styleframe with painted effects to explore the look we want to achieve after compositing. The main light source is coming from outside of the house to signify that there is hope even in the most dire of situations - Saul only needs to be open to seeing it.

Poster Draft

Poster Draft

Updated wall texture with painted shadows and smaller bumps

Updated Wall texture

Curtain

Wall Texture First Pass

Floor Texture first pass

Book Textures

Seq 100_50 Lighting

Used a photometric light to resemble a 'heavenly' light. Maya crashed every time I'd change the light's softness, so the shadow is still too harsh. Also added a rim light and turned the bookshelf so the composition guides the eye to Saul instead of away.

Seq 100_50 Lighting

Changing positioning of light to better frame his face.

Seq 100_50 Lighting

Adding bounce back light (two area lights)

Seq 100_50 Lighting

Establishing main light source

General Living Room Light

General Living Room Light

Playing with translucent curtains to add dimension to the shadows cast by the windows

General Living Room Light

General Living Room Light

General Living Room Light

Maya was exhibiting bugs when referencing so many elements, so we ended up importing everything into the file. I reorganized the filing system and cleaned up the outliner, rigging a few objects on group nodes for easy movement.

Layout Updates

Most of the models are completed. I referenced and placed them into the scene, keeping composition and camera angles in mind.

Lights and Textures

I've applied blocked in textures and lights to the scene. We got Saul's textures to work with the new lights. I moved the table and the spotlight to partially fall on the table and lead the eye to the main character.

Lighting and Texture Test

I added more area lights to fake bounce off lighting and add more light. However, the character's subsurface scattering made the environment seem to glow in this new light set up.

Lighting Test

When I textured the walls, the lighting bounced less and therefore didn't light the scene enough.

Lighting Test

Lighting Test 3

Lighting test using the new textured couch. It is still too flat. I will experiment with adding more, smaller lights to fake depth and environment.

Couch Texture

Couch Texture

WIP. 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.

Mirror

Updated model of the mirror with a little more detail in the framing, but still remaining light enough for Saul to move it. I also sized it down compared to the rest of the environment so it seems less heavy for him to drag it.

Lighting Test 2

Instead of moving the windows, I tried adding a secondary spot light to cast more light on the table, but it doesn't make sense for it to do that, and it looks too busy.

Lighting Test: Moonlight

This is a test to position the main light in the scene. For the windows to illuminate most of the room and to overlap the shape of the table, they will have to either be moved closer together or remain as they are if the light is cheated and affected by a different piece of geometry.

Entrance Table: Wireframe

This table is finalized and ready to be textured. We adjusted the design to be more simple than previously.

Entrance Table

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.

Poster - Blank

Color Script 2

After a quick discussion with the crew, I tried a greener first sequence, but now it looks too much like it is happening underwater, so we will continue reworking it.

Color Script 1

Couch Model

Updated couch model to look more saggy and sad.

Couch 2

Changed the second couch to only have 2 seats, and also made it saggier to fit in with the look of the house. Texture still temporary.

Kitchen Concept

Updated Concept art to remove the light from the window and make the lamp the only light source.

Curtain Designs

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.

This table is placed in the entrance hall, and will be part of the final scene in which Saul decides to turn his life around.

The mirror has to be as simple and humble as possible. It needs to be light enough for little Saul to pull, and be an important object because of the way it's used, not because of its extravagance.

The toothbrush will be placed in the kitchen to signify that Saul never enters the bathroom unnecessarily.

Prop Blocking

Blocking in some props to populate the scene. These T-shaped windows will cast an interesting light and shadow shape on the living room.

Layout

Layout

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.

Poster 3

This poster initially illustrated the ending, in which Saul decides to take the first step and go outside.

Poster 2

This 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.

Poster 1

Concept design for the poster. This one alludes to the importance of the mirror and gives the feeling of abandonment of something that Saul was once fond of.