Here’s how I spend my summer nights: stuffed inside this homemade sound booth — recording foley. It took me about a week to assemble this shantytown-esque sound booth; the inside is lined with kitchen liner, which, surprisingly, cuts down A LOT of reverberation.
For more info about my film, check out Howtogetawaywithit.ca.
Andrew
I imagined what it would be like to create a friendly and marketable logo, brand and product, for an item that some might find…difficult to swallow.
I decided to use Soylent Green as my product. Because, why not? If I’m going to go in, I’m going all the way.
Above, you can see two versions of the product logo. Looks good, right? Wait til you see the foodstuffs below. All made from Soylent Green. All 100% “natural”. Go green!
So it was a fun experiment and a quirky way to show off some of my design skills.
Sometimes when my wife and I are trying to figure out what to do for an evening-in, I propose ideas with illustrated options like the above. A) I edit while she works on her novel nearby, or B) we watch a movie. The latter option usually wins!
Here are a few select storyboards from my feature film, How to Get Away with it.
I drew storyboards for the entire script, which the production team really appreciated as it helped us determine how much we could shoot from relatively the same angles in the limited time we had. The boards served mainly as a guide — there were some shots/angles that changed on location and some we simply did not have time to pull off.
Mike Bullard will be broadcasting from the Autoshow next week, in a set-up that was created to resemble a late night talk show. I was asked to design the logo, so this is what I came up with — a retro Ed Sullivan-style image.
There were several shots in How to Get Away with it in which an actor’s eyeline did not match the natural eyeline of the scene/conversation. This was caused by the non-linear shooting schedule and continuity errors…and of course this being my first time dealing with a project on this scale.
The errors are sometimes obvious, which requires a visual effect correction.
In the future I’ll provide a more detailed explanation, but essentially what I did was duplicate the shot twice, creating a ‘repositioned eye’ shot (moved over slightly to the left or right) and a ‘cut out’ shot (with the eyes cut out).
I had to add extensions of eye-whites, shading, red veins and room reflection, to give the eyes a natural appearance.
Sorry for the shoddy video — I realized I had created the example project using 30fps instead of the negative’s 24 and, interlaced. OOPS. I’m too tired to start it over again.
Anyhow, thanks for reading!
Andrew
