Work in progress

CGI- virtual sets
I began construction of my virtual sets with simple blocks in CGI animation software.

CGI- virtual sets
These blocks were edited to suit their placement as a set piece.

CGI- virtual sets
The most common of which involved removing two edges and leaving the ceiling and floor in the early stages.

CGI- virtual sets
Next I adjusted the dimensions of the pieces to match exacting measurements.

CGI- virtual sets
Then pieces were copied and rearranged.

CGI- virtual sets
I made sure the edges of the set pieces touched each other to create the illusion of solid walls.

CGI- virtual sets
The corners were constructed from different models to prevent the copies from being modified as well, though I would later implement “make
unique” to some set pieces to adjust imperfections.

CGI- virtual sets
These pieces also had their dimensions adjusted.

CGI- virtual sets
One of the more difficult portions to create was a “shrinking corridor” to create the illusion of infinity in the set.

CGI- virtual sets
The pieces had their ends shrunk to apply the illusion of infinity.

CGI- virtual sets
Copies were lined up together and gradually grew smaller with every copy.

CGI- virtual sets
It soon came to a point where I had to copy entire sections to save time on construction.

CGI- virtual sets
Eventually the shrinking corridors were constructed with the pieces shrinking to create the infinity illusion.

CGI- virtual sets
However, the end of the corridor was more square than rectangular.

CGI- virtual sets
So I went back and readjusted the ends so they looked more rectangular and horizontal.

CGI- virtual sets
This made the illusion of infinity look more apparent.

CGI- virtual sets
This formed the blueprint of each individual set.

CGI- virus
Like the sets, the virus was constructed out of simple blocks.

CGI- virus
In some cases, several blocks were pieced together to create a single unit.

CGI- virus
The body was made mostly of polygons to save time. Having the film set in a computer allowed me to get away
with doing this.

CGI- virus
Like the sets, some of the polygons in the virus’ body had to be edited to suit their body part (like this toe).

CGI- virus
The basic body was then given a hierarchy to keep the pieces together.

CGI- virus
The face required significant modelling. Several points had to be created to allow the face to be shaped.

CGI- virus
Even in this stage, the virus looks considerably threatening.

CGI- virus
A jaw, teeth and coloured innards were also added to the face to add to the threatening appearance.

CGI- virus
This completed the form of the virus.

CGI- virus
I also added striking colour and illumination to the face panel to help it stand out more.

CGI- virus
This showed up better in the rendering.

CGI- virus
I finished off the virus by adding texture to its body.

CGI- virus
This gave a less plastic-like appearance to the body.

CGI- adding sets
For ease of access, I saved multiple files of different sets. This also allowed the impossible layout to occur in the film.

CGI- adding sets
Different aspects were rearranged, copied or deleted based on their need in the set.

CGI- adding sets
Imperfections in the pieces were also edited out.

CGI- animation
Before animating, I worked out the number of frames I would need in this particular set.

CGI- animation
I immediately took advantage of the hierarchy in the virus’ body by moving and rotating each piece around a
pivot.

CGI- animation
To ensure accuracy with the footwork, I placed a block under the foot to give a reference point to the
animation.

CGI- animation
I also slightly exaggerated the movement to make it look more engaging.

I originally used lighting in the exit, but this turned out poorly, so I instead illuminated a vertical plane.

CGI- textures and backgrounds
I loaded a Photoshop document with the exact size of the plane I needed for the shot.

I then selected a background colour to apply to the walls of the virtual set.

I decided to line the walls with binary code (computer code consisting of 0s and 1s). I shift-painted for accuracy
and erased the edges to make them appear straighter.

I copied each example into a line and copied the line four times.

A different size and quantity was used for the ceilings.

Next, I used the timeline and view functions to create changing binary codes.

Using my previous experience in understanding binary code as well as some research, I changed the binary for
every frame to give motion.

Next, I exported the binary as video to input into the virtual set.

When the format Photoshop rendered in did not accept, I re-rendered the binary into a format the CGI
software did support.

Editing- Transition graphics
Because I had time I decided to include a transition shot. I started by creating a texture in Photoshop.

In 3ds Max, I created a shape to work with and apply the texture to.

The spinning shape allowed for a disorienting effect.

Then I created a colour panels to mark the exit of the transitional tunnel.

This was placed at a position in the tunnel to mark the start and the end.

I then adjusted the pivot to rotate the tunnel to give it a sense of motion.

I then applied a camera movement through the tunnel, adjusting the latter to fit the shot.

I then had the shot rendered and ready for use.

Title
I started by matching the size of the frame in the film.

Title
I decided to create my own text from scratch rather than attempt to find text online.

Title
The text was shift-painted for straightness whenever possible.

Title
Some of the edges were then widened to add uniqueness to the text.

Title
Then, I straightened the edges out to make it look more serious based on previous understanding that
rounded text looks more friendly. I applied this knowledge when straightening the edges.

Title
I then decided to add a grid behind the text to enhance it.

Title
The edges were then cut off for a more uniform appearance.

Title
The opacity was also lowered to give a darker appearance.

Live action
I first booked out the equipment and resources I would need for filming.

Live action
I rented out the equipment for a set amount of time, though the second session overran.

Live action
The green screen had a limited coverage, but I could fix these issues easily in post.

Editing- loading
I opened a file in Premiere for editing.

Editing- loading
This was named simply “student film” for easily reference.

Editing
Clips inserted were trimmed to the appropriate length.

Special effects- chroma key
I applied a colour key to the green screen footage to place the live-action subject onto other footage.

Special effects- chroma key
Due to the inconsistency of the green screen’s illumination, I had to use multiple colour keys for a smooth
keying.

Special effects- masking
When my live-action subject extended onto the carpet, I had no choice but to resort to masking. I marked
around the subject’s arms and body to remove the carpet.

I also masked around the whole green screen whenever necessary and reversed the crop so whatever was
inside it was shown instead.

When the virus cut in front of my actor, I masked around its body to enhance the conviction he was actually
inside the virtual set.

These masks, like most masks, had to be animated keep the effect consistent.

Special effects- noise and mask
When the virus dismembered my actor in shot I masked the leg off.

A copy of the live-action footage was created and noise was added.

Only the red noise was used by removing the other colours from view. The mask was then re-animated to
show the leg disintegrating after being scratched by the virus.

Unfortunately, only what was within the box was visible.

So I expanded the box and made it invisible.

I also rounded a mask line to feel more natural around the naturally rounded leg.

In some cases, the foot had to have its own subtract mask as it kept showing.

Nonetheless, the process of making the masks and noise effect was much the same.

In film, the mask and noise looks highly effective.

In one case I had to add another layer of fingers to the hand as they had slipped out of frame.

Special effects- matte
I took a clip of an exterior shot I had taken to remove my college logo from the front.

I use the eyedropper and paintbrush tools to undertake this procedure.

I then applied a healing brush to smoothen the appearance.

Next, I opened After Effects to apply motion to the matte, like in the original footage.

At this point, the matte had not been separated into separate layers, so it could not be worked.

So I returned to Photoshop and separated each different aspect of the image into different layers.

Some required a cloning stamp to fill in the gaps that were missing. Others had transparency added to them
for glass. The final result came off as effective.

Special effects- motion graphics
I started the opening location text with a simple textbox in a computer code-like appearance.

Then I applied a box to act as a cursor for the effect.

The text was removed on separate rasterized layer with the cursor tracing the text to give the impression of
typing.

For the code, I took a screen shot of my desktop for reference.

Then I added a textbox layer and began typing a set of code.

This expanded into a fictional coding language that most closely resembled JavaScript.

With the text inserted, I applied the typing illusion that came with the opening locator.

For the opening credits, I started again with a basic textbox.

Editing special effects in Premiere
Like mentioned before, several layers of colour key had to be applied for a smooth image. I also cropped the
image to only show the actor.

On occasion, the cropping was used to create the illusion of the actor actually being inside the virtual set.

Unfortunately, the reliance on visual effects made the project very heavy, to the footage had to be separated
into different portions.

I also used multiple layers atop one another to give a smoother appearance for varying effects than trying to
go all at once.

I also had to render the footage regularly to ensure it did not get too difficult and slow to work with.

In the end, the simple solution was to re-render the CGI into a lighter format, though this was only applied once.

Editing- Special effects
Upon learning about Keylight, the footage added shadows which looked more realistic.

Special effects- fill colour
For this, I originally applied a shape layer. Instead, I applied a paint bucket tool.

This could be softened unlike the shape tool, giving more of an impression of light.

But to truly show light, I added lens flares, which over exaggerated the amount of light in the shot.

For escaping the computer, I used much the same methods as before (puppet pin, lens flares and fill bucket).
However, I had to constantly move the centre of the fill to fill the whole body.

While it was time-consuming, I eventually had the body smoothly illuminated with a fill colour.

Special effects- puppet pin
For the transition into the computer, I started again with a fill bucket tool with the chair on a separate layer.

Next I added puppet pins to the front of the body. I eventually added some to the back for a smoother effect.

The pins moved the specific portions of the image they are set on and manipulate the image as it is oved.

With this puppet pin sequence, I stretched the body out to cover the whole screen as part of a transition.

In editing, I sometimes had to adjust the speed of the clip to match the body movement.

Usually, motion was simulated in Premiere by adjusting the position, scale and, occasionally, rotation.

Falling through a hole in the ceiling, I crop the body, again to create the illusion of interactivity in the virtual set.

I ended up completely missing a live-action shot, so I slowed another shot down to motionless.

A lens flare was added to give further dimension to the virtual set.

For this special effect, I took numerous shots of a chair in different positions and cut them to simulate motion.

I decided to have a flash of light for my actor to come out of the computer. This was achieved by raising the
colour balance for every shade up all the way.

Motion was much the same, though I decided to make the impact more jarring and sudden.

For this handkerchief shot to set up a possible sequel, I masked off a second layer with noise.

I initially tried to track the handkerchief’s movements.

But the effect was not to my liking.

So I monitored the motion myself and moved the masks accordingly.

Some shots required two lens flares due to a split in the light.

Whenever the legs cut in front of the light completely, I reduced the flare brightness. I also moved it accordingly.

I had the footage exported into video formats to piece together in another file as a first draft before further editing.

Music
I composed the musical score for my student film in GarageBand. In keeping with the computer-theme, much of it was
electronic.

Music
I used sharp and flat notes and the pitch shifters on the MIDI keyboard to create an unsettling and disorientation edge.

Music
Several layers of musical instruments were applied to give depth and atmosphere.

Music
I decided to take advantage of public domain classical music by reworking some pieces into a synthesized form.

Music
To do so, I thought it best to download the sheet music to Bach “Brandenburg Concerto no.3”.

Music
This turned out to be needless as I can mentally transcribe music. I also separated recording into portions to make
producing the music easier.

Music
I also added another layer of the same note as well as bass to give depth and complexity to the music.

Music
Digital software also came in handy when I decided to raise a drumbeat beyond a tempo I could manage above every other beat.

Music
I also incorporated loops to make producing the music easier.

Applying sound effects
I pieced together the soundtrack in the timeline and cut it accordingly.

I also adjusted the volume to keep the product from being too loud as well as to match the scene.

Some soundtrack portions included more complex actions like fades.

For some music and the sound effect I created myself, I used my own synthesizer. The microphone is used because I
do not have a means of connecting my keyboard to my home PC.

The sound effects that I did not produced I imported from Freesound.org. Some of these I edited to more match the
scene.

For the virus, I added a phaser which gave a more digitalised and distorted sound, which matched the computer setting.

I later added a pitch shifter to both mask my voice and give a more menacing sound.

Titles/credits
In Photoshop, I rasterized the text for working. I then selected portions and transformed them accordingly. This
process repeated for the rest of the opening title sequence.

Titles/credits
For my pre-produced logo, I added noise to a separate layer.

Titles/credits
I cropped different copies and later added a static noise to suit the computer theme.

Titles/credits
I then decided to make the title a motion graphic. I selected and cut the logo layer by layer.

Titles/credits
The process as slow, but the final result was smooth and effective.

Titles/credits
I then decided to paint over the first shot with a green CGI grid appearance. This was cropped in the timeline.

Work in progress

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