Cinematic Spaces: Presentation

Cinematic Spaces Presentation.pdf by HeidiGrover

Cinematic Spaces: Creative Partnership

Creative Partnership

These are my Creative Partnership comments via Blogger.com during the Cinematic Spaces: Space & Environment project. I had started shy as of meeting, getting to know everyone and becoming confident enough to comment about others work; however this has allowed me to really look into depth about the story behind peoples work and enlighten my own thoughts and processes. 

Anthony Faulkner

Will Huntley

Adam Stone

Hannah Milliner

 

 

 

 

 

Cinematic Spaces: Final Concepts

Final Concepts

20,000 Leagues Under The Sea

Nautilus Library

Submarine Forest

Nautilus Saloon

Cinematic Spaces: So Far

20,000 Leagues Under The Sea Scenes

Here are my three Space & Environment scenes currently in progress. The least developed is my forest, however the basic lines and composition is shown.

Drawing: Paints & Inks

CG Artist: Drawing

Here are my colour paintings from a still life using different techniques and brushes. We were given pure inks (Primary Colours) to help us make our own colour palettes.

These are my three paintings.
I really enjoyed today's session and it has allowed me to use colour in ways I wouldn't have normally done.

Film Review: ALIEN

ALIEN (1979) 117min



(Figure 1: ALIEN Poster Art)

ALIEN, produced in 1979 and directed by Ridley Scott, is one of the most remembered sciene-fiction horror films of the 20th Century. As said by Jason Anderson in his review, ''This is the stuff of nightmares.'' (Anderson, J), Scott acknowledged the fantasy of the 1970's public who craved such 'out-landish' adventures after the groundbreaking original Star Wars film. ALIEN has truly set the trend for the modern twists on any Haunted House plots we know today despite our development and knowledge on modern computer technology.

(Figures 2 & 3: Nostromo's Crew & Prometheus 'Makers' Sleep Capsules)

As the film begins, we see the seven astronauts of the Nostromo space craft awaken from their hyper sleep capsules. Such similar arrangement is shown in the prequel before the series; Prometheus. Such arrangement can symbolize a 'unity' between genders and 'togetherness' as a group itself. The difference in colours can also paint a picture to the audiences on how such scenes are supposed to be taken. The crew awaken gracefully in a simple white room; like heaven or rebirth. Comparing this to the 'Superior Makers' in Prometheus, the pale blue and black room could emphasize an ending; death.

(Figure 4: Dallas in the Nostromo Air Shaft)

While Dallas is crawling amongst the Nostromo Air Shafts searching for the monstrous alien, the one point perspective we see highlighted by the fire of the blow torch really dramatizes the suspense and tension for his character. Knowing that he is slowly becoming the Aliens prey, the lines arching towards him puts an emphasis on him becoming the pin pointed 'target'. As Brian McKay says; ''A Claustrophobic spaceship and excellent cast help build layers of atmosphere and dread.'' is everything in a very small space. The audience get the view of what the Alien could actually be seeing, as though they are anxiously watching his every move themselves.

 (Figures 5 & 6: Ripley aboard the Escape Shuttle - Space Suit & Knight's Armour)

When Ripley is aboard the escape shuttle and discovers that she again is not alone, the suit she wears appears to be influenced from traditional suits of Armour. The shoulder pads that were originally created to allow movement to the arm while still allowing protection can be perceived as a metaphor; shutting out the horror and fear of the surroundings but protected by strength and determination. Comparing Ridley's character to Anne from the original King Kong film, she is the first of many independent heroins with a standing role rather than the 'life-less' object that men are seen to protect.

(Figures 7 & 8: Ripley in Hyper Sleep Capsule & Snow White in a Glass Coffin)

Finally rid of the Alien and back to her hyper capsule, Ripley is seen peacefully sleeping with her hands on her chest. Such scene is replicated in Walt Disney's 'Snow White and the Seven Dwarfs', both with pale skin and black hair, kept in glass 'coffins' that makes you feel some remorse for what both characters have endeavored. 

From ALIEN's film review by Bryant Frazer, '' It delivers a frightening, visionary look at a cold, inhuman future.'' (Frazer, B) ALIEN will forever be known as the true alien film' for both scale and imagination. Scott has opened up a chapter to another world of science-fiction to forever be influenced and admired by and how possible humans could change and be used as a tool for far more 'superior' races.

Bibliography:

Anderson, J.  (2003) ALIEN Film Review. URL: http://www.eye.net/eye/issue/issue_0.23.03/film/alien.html (Accessed on 22.10.2013)

Frazer, B.  (2000) ALIEN Film Review. URL: http://www.deep-focus.com/flicker/alien.html (Accessed on 22.10.2013)

McKay, B.  (2003) ALIEN Film Review. URL: http://www.efilmcritic.com (Accessed on 22.10.2013)

Illustration List:

Fig. 1. ALIEN Poster Art. (1979) From: Alien Directed by: Ridley Scott. [Poster] United States/United Kingdom. Brandywine Productions. At: http://www.listal.com/list/the-ultimate-posters-list (Accessed on 22.10.2013)

Fig. 2. Nostromo Crew Sleep Capsules. (1979) From: Alien Directed by: Ridley Scott. [Film Still] United States/United Kingdom. Brandywine Productions. At: http://fogsmoviereviews.com/2012/01/09/movies-that-everyone-should-see-alien/ (Accessed on 22.10.2013)

Fig. 3. Prometheus 'Makers' Sleep Capsules. (1979) From: Prometheus Directed by: Ridley Scott. [Film Still] United States/United Kingdom. Scott Free Productions. At: http://www.ausgamers.com/forums/general/thread.php/3216443 (Accessed on 22.10.2013)

Fig. 4. Dallas in the Nostromo Air Shaft. (1979) From: Alien Directed by: Ridley Scott. [Film Still] United States/United Kingdom. Brandywine Productions. At: http://cinetropolis.net/top-alien-saga-moments-part-2/ (Accessed on 22.10.2013)

Fig. 5. Ripley aboard the Escape Shuttle - Space Suit. (1979) From: Alien Directed by: Ridley Scott. [Film Still] United States/United Kingdom. Brandywine Productions. At: http://clothesonfilm.com/moon-the-double-meaning-of-sam-rockwell-costume-design/25439/ (Accessed on 22.10.2013)

Fig. 6. Knight's Armour. (1565) From: Flicker.com [Photograph] Italy. Nelson-Atkins Museum of Art. Kansas City, Missouri. At: http://www.flickr.com/photos/spacecamp/5059944507/ (Accessed on 22.10.2013)

Fig. 7. Ripley in Hyper Sleep Capsule. (1979) From: Alien Directed by: Ridley Scott. [Film Still] United States/United Kingdom. Brandywine Productions. At: http://avp.wikia.com/wiki/Stasis (Accessed on 22.10.2013)

Fig. 8. Snow White in a Glass Coffin. (1937) From: Snow White and the Seven Dwarfs Directed by: David Hand. [Film Still] United States. Walt Disney Productions. At: http://brontehoroine.wordpress.com/2012/11/12/coffins-glass-and-otherwise/ (Accessed on 22.10.2013)

Cinematic Spaces: Submission Disk Artwork

Cinematic Spaces

This is my first Cinematic Spaces disc art using my Nautilus Saloon digital thumbnail.

Cinematic Spaces: Three Thumbnail Scenes

Three Finalized Thumbnails

These are my colour thumbnails for my three '20,000 Leagus Under The Sea' scenes.

Nautilus Saloon

The Saloon has a lilac colour comp reflecting fluorescent indoor and ocean lights. Inside the scene will include people upstairs and downstairs, behind glass and on the ground floor. It will feature a bar that will be a link to a staircase connecting the upper and lower floors/ maybe even a lift.

Submarine Forest

Overlaying several versions of my Submarine Forest colour comps, I've finally crated a colour style I'll follow when creating my final concept. I also used the Blurr tool to add the sense of depth to the image.

Nautilus Library

During today's photoshop lesson I went back and revisited my Library scene and changed it's colours. This allowed a more realistic enterpretation of lighting and atmosphere. I'll be adding a rug/ carpet on the floor to try and add a 'cozy' effect.

Cinematic Spaces: Library Scene Decisions

Library Scene

Gradient Tool - Highlight

Looking back at the technique and brushes I had used when digitally creating my Library Scene, I decided to go back and try again with overal colours. After quickly speaking with Jordan, he enlightened me about the Gradient Tool and how the room can be lit by a singular light source. So using the brush and technique from my Saloon concept, the ocean will be the light source and its Turquoise colour would be reflected throughout.

Cinematic Spaces: Editing Colours

Colour Balance

(222 - 223)

Working from the original on a duplicated layer, the 'Colour Balance' option changed the colour range itself resulting in a more pale palette.

Hue/Saturation

(224 - 226)

Due to the lack of striking appeal from the Colour Balance option, Hue and Saturation changed the colours as well its lightness and darkness. This gave more eye catching ranges to these images.

My preferred colour is the original (Pinks & Purples) edited via the Hue and Saturation tool.

Cinematic Spaces: New Saloon Structure

Building The Saloon

(216 - 221)

This is my process of building the saloon digitally from my thumbnail, using the colours from Goran Bukvic's Halo concepts simply using the eye dropper tool.

Cinematic Spaces: Saloon Revisited!

Thumbnail 176 & Colour Comp

Looking over my Saloon thumbnails once more, I decided to work with number 176. I had looked more at the excerpt when I had originally sketched it specifically at the slanted walls. This also includes the style of Ken Adam and colour comp from Goran Bukvic.

Here I have warped two of my thumbnails on different layers over each other to get a better perspective viewing angle.