Ben Cragle’s 72 Hours on Gardraxis (Working Title)
Why this film
When hearing the pitch for this film, I immediately felt excitement when thinking about executing the look that the film brings. There are many visual elements that I personally vibe with so much. I think the setting and story is ambitious and will be really tricky to sell, and I’m all for it. /
The use of different terrain and ecosystems like snowy forests, black sand beaches, and dry lands, having this large variety in scenery is an aspect I really think works, and helps sell the environment that Ben builds for the viewers. Growing up, I’ve always been attracted to stories about survival and strandedness.
My favorite book was called Hatchet, about a kid struggling to survive on his own after becoming the only survivor of a small plane crash in the middle of the forest.
And the threat of a zombification-like transformation was something that equally fascinated and scared me. Why I believe that this film feels like a good fit with me is I completely appreciate and enjoy the visuals that Ben has driven for this story. I thrive in environments that require visual effects and have a great understanding of how to make the space not only believable, but immersible. The different strategies of motion capture, motion control, virtual production, matte painting, and compositing makes this a project that gauges so much of my interest.
Jordan’s Monster Movie
I like the approach that Jordan brings with this story. A driving visual element is obscurity. Using crushed shadows, and silhouettes to build suspense and tension is one of my favorite uses of lighting. I love the ambition that this film brings, and I think there are a lot of different routes for executing the visuals that this story drives. Motivating hotspots of light that overpowers the rest of the environment is a method that I feel is a powerful way to keep the action and scene engaging. For moments that involve the monster for example, instead of relying on texture to sell the look, I think it could be a fun approach to try to focus on the material of the monster. Meaning, rather than getting a good look at what the monster looks like, such as its pigment and overall shape. We see parts where the wet/slimy surface reflects light powerfully depending on the curve and wrinkles of its surface. Speaking of the monster, I am fascinated with Jordans idea for creating a 1st person perspective of what the monster sees. I think this opens up a door of a lot of fun ways of getting a really creative and unique look. There are some fun things that can be incorporated, such as long exposure motion lapses in dark spaces. This adds a fun new way of playing with lighting you don’t often get to do. While capturing a long exposure motion lapse, light painting is now a tool that we can use to compliment the look that goes with this film.
Test Callout
Another test
Eddie’s Growing Up Story
I love the potential for visual effects that this story is structured around. I really am attracted to the perspective of imagination and creativity, I think this film opens up a lot of potential for different fun ways to get the audience captivated into the perspective of the main character Amelia. Being able to successfully show a visual for this creative world is something that I would be able to provide and successfully execute. The conflict of growing up and needing to mature out of the world of make believe is something that a lot of us can relate to. Especially us in the industry of creativity. Relating to Amelia, I think there are some strong visual strategies that can be used to see the world as Amelia is currently living it. The contrast of the joy and innocence in the world you’re able to put yourself in with other childhood friends compared to the somewhat dark and boring world that we actually live in (it’s not that deep, but you know what I mean) can be a difficult transition. I really like the potential visual tools that could be used to subtly yet assertively show this contrast. The world of imagination could have a whimsical warm feel, with halation and soft shadows. Compared to the real world, with real properties of imperfections and worry. Sharper shadows, and unideal lighting could be strategically used to motivate the audience into a feeling of discomfort and worry.