Wednesday, 12 January 2011

@Phil Help Please!

I'm getting myself a little too stressed out and I REALLY need some feedback!

 I'm really stuck as to what my final scene should be. I'm struggling to find the right composition and this is not good at all. I'm so confused that I'm even thinking that I may not include the gas mask idea and I don't even know whether to have it in a room or in a hallway.  The only thing I know is that I want it in a house which is not that helpful at all!

Here's a load of new thumbnails that I've been doing to try and get a little more sense developed:

Here are my previous thumbnails:

I know I want the scene to include billowing cloth maybe from a window but I really don't know what to include.  The gas mask doesn't look like it's working in the scenes, not in the newest thumbnails anyway.  I quite liked the idea of including something grand such as a huge wardrobe/dresser thats doors are slightly ajar revealing something inside but you're not sure what.  Something that dominates the room and creates an ominous shadow or tone.  Also, I want there to be a powerful light source, probably through a window so I can have some powerful shadows and contrasting areas.  I probably won't include the sofa and chair that I've previously made, and I don't mind as long as I can work out exactly what works and what doesn't.


  1. Hey Molly - take a deep breath! Now I'm confused, because I thought you were taking 'thumbnail 26' into maya? (that is thumbnail 26 from your previous post). Trust me - that composition was really working - I suggest you scan it in and do an extended drawing from that thumbnail to include more of the surrounding mise-en-scene and create opportunities for the matte painting (i.e. a view out of the window or similar). Also - drop your preoccupation with the the billowing curtain - it will just look odd as a freeze frame; go for stillness, silence and be brave in regards to letting the lighting/camera pov and ambience do the work. Don't over complicate and stop over-thinking. Take that original thumbnail, open out the periphery and develop it into a final scene.

  2. Okay, thank you! Sorry about that I think it's just coming back from the break gave me a bit of a panic. I will do that and it will awesome!

    Just the lone chair, gas mask and window combination you think? I was just worried about it being too simple really.

  3. I've been having lots of conversations recently about the relationship between 'less' & 'more' - and double-coding - and tautology (a tautology = a small dwarf or big giant; the addition of an adjective that, in effect, repeats the meaning of the image or word it quantifies). Think about it: you've already established that the gas-mask - in its purest form - has an especial vibration - a capacity to discomfort. Then, you've got the additional information bestowed upon the scene by the era of the mise-en-scene - and the abandonment. Add to this the layers of additional meaning contributed by the simple fact of camera placement, lighting, colour palette and texturing, and you soon realise that your worries re. simplicity, maybe overestimated. Jono has been experiencing the self-same dilemma - how to signal meaning - without creating a kind of mise-en-scene 'white noise'.