Com apenas 4 mil dólares mas fazendo uso dos recursos da Universidade, não apenas as 40 pessoas, mas todo o material audiovisual e informático assim como as licenças para os pacotes de software: Autodesk Maya 2011 (Mental Ray), Nuke 6.1, After Effects, Photoshop, PFTrack, ZBrush, BodyPaint 3D conseguiu produzir uma pequena pérola audiovisual.
A qualidade visual do filme não será alheia à formação prévia de Balcome que é licenciado em Design Gráfico pela University of South Carolina. Podemos dizer que o filme é uma força de coerência gráfica fazendo um uso magistral da cor, textura, e iluminação. Balcome refere como referência fundamental para a criação conceptual, Jean-Pierre Jeunet, criador de Delicatessen (1991) e de Le fabuleux destin d'Amélie Poulain (2001).
"His [Jean-Pierre Jeunet] use of color pallets and camera angles are very rarely rivaled in other films. In the beginning I planned on following his color palettes which are extremely warm, but as the production forward I decided to alter that slightly in certain scenes to make things much cooler."
No fundo esta sua alteração correspondia ao seu desejo de introduzir o Stemapunk como nos diz a seguir,
"I also wanted to implement a bit of the sub-genre, “Steampunk” into the art direction. I have always been fascinated with its intertwining of technology and alternate history. It gives the look and feel of a Victoria clothing style mixed with beyond-its-time technology. It really fit my color pallet perfectly, and storyline for that matter as well."
Em termos de movimento das placas na cabeça nota-se uma clara sincronia entre estas e a linguagem corporal dos actores, e a isso também não será alheio o trabalho de investigação levado a cabo por Balcome
"I did a lot of studying on human anatomy while designing the head extensions so I would better understand how the human muscular system worked. This helped a lot when deciding what part of the body I could replace. I knew all along that I wanted to do something with the head or face because of the dramatic effect it would have on the viewer. I also knew that there would be certain limitations to what I could achieve in the time frame I had because of the complications of matching the movement of muscles in certain areas. By researching the way the body moved I learned, most importantly, what not to attempt. This is why I ultimately chose to use the back of the head. The back of the skull (visually speaking) has the least muscular dependency of any part of the body. There are basically no major muscles that I would have to deal with flexing or relaxing and I could still achieve the look and feel I wanted"
Aqui fica o filme,
e agora a desconstrução dos efeitos visuais
Muito mais informação pode ser encontrada no site da obra.
Fixe.
ResponderEliminar