introduction
THE CREATOR
NIKOL MANOLOVA
STUDENT AT UNIVERSITY OF WEST LONDON
GAMES DESIGN AND ANIMATION
About Nikol Manolova
To introduce myself, I am an artist and content creator interested in virtual reality, cinematic rendering, film productions and 3D photo-realistic character creation. Originally, I am born and raised in Bulgaria but based in London, United Kingdom since 2019.
My strength and talent is the traditional drawing, as I am self-teaching since 2012, but it appears to be a natural talent that I always had. I have been practising traditional graphical drawing of the human anatomy, traditional portrait graphical drawing of the human face, architectural sketching, mixed media art, watercolour and pastel techniques for painting, fine art and concept art and design. My favourite hobby is Photography, I have been self-teaching myself and researching since 2013. Throughout the years, my photography skills helped me a lot in terms of understanding the colour and how it sets a mood in a scene, the different techniques for shooting, technical terminology, camera shots and angles. Later on, I implemented my skills in Unreal Engine 4 and cinematic rendering.
Since my early years, I was completely interested in the imaginative fantasy worlds recreated in film and video games and wanted to start my journey towards these industries. One of my obsessions was to observe and review the films back then and to analyze the complex concepts of the narrative and story.
As technology kept evolving, I realized that the visual effects in films and games exited me, but what was more exciting was that I wanted to become the creator of all of it.
During my studies, I gained a lot of knowledge in the game and animation field. Ever since I have been learning and working with industry-standard software, understanding terminology, self-organizing myself and my priorities. In my opinion, we all can create such a beautiful world using all the tools needed and we can inspire artists, as we are being inspired.
introduction to the project
THE BEGINING OF DEVELOPING
THE IDEA AND INSPIRATION BEHIND THE PROJECT
Introduction to the film
The Void is a short animation 3D film with 00:03:00 minutes of duration with content for young adults of the age of 16 or above. The official creator is Nikol Manolova, a student from the University of West London based in London, United Kingdom. Nikol is in the course Games Design and Animation with an ending date of 27/05/2022. The student is working alone for creating a Final Major Project within the time limit of 3 months – from 16/02/2022 to 20/05/2022.
Concept of the story
The story and narrative follow the thoughts of the main character Helena, who is pursuing her freedom of mind and soul living in a futuristic world created by future humanity. She is an artificial intelligence showing her visions, fighting with her inner self and the real world where the human soul does not exist and only the physical and material matters. Helena is going on a journey to find the place called The Void and wake up.
Final goal
The final goal is to have a personal insight into people's internal understanding of the new world created by our generation and how people's decisions will have a significant impact on the future, reducing physical touch with non-real ones. Spreading the awareness of how future decisions can destroy human nature by itself and have a big impact on the internal being of the persona.
Inspiration
Main Character
Name: Helena
Meaning of name:
The origin of the name is Greek. The meaning behind it means ‘’ Shining Light’’; Helena is a delicate and dainty version of Hellen, a name favourited by Shakespeare. The history behind the name is that Helena was the mother of Constantine the Great. Helena can be pronounced as HELLehna-a, even though it contains hell, the meaning of the name stays the same.
Meaning contributing to the Production:
Helena is an incredibly beautiful name I came up with months ago when I had obstructed vision of what I wanted to create for my final project. The meaning is Light, and I chose it based on pronouncing and meaning because it is playing a key role in foreshadowing inside the story. The void is the place where the main character must go to connect with herself and her soul, so she is searching for the ‘light.’ Personally, the void is a very bright and beautiful place and there each soul can find themselves and breathe again. Helena is born with a purpose, and she knows that she needs to search for the void and wake up from the reality she is really in – this is the real world where she is artificial. Her name is a foreshadow for her purpose –her name represents light and searching for it but in the end, she will find it in herself.
CHARACTER MOOD BOARD
CHARACTER DESIGN
INTRODUCTION TO THE DESIGN CONCEPT
The overall design of the character is going to be a tall woman with long blond hair, expressive and sharp facial features, a feminine face, and blue eyes. The body is going to be strong but feminine that is going to take the place of the face because the face is the most important feature. The face of the character and all its features including hair, eye colour and expression is the most important because the Production needs to show the character’s emotions in depth. The Mood Board shows all the inspirations and references for the character development and its design.
DESIGN TYPES
As I want to show the two faces of the character, external and internal, it is important to work with colour, mood, types of clothing, makeup and accessories. There are going to be two types of character visualization:
The external – the dark side that is how she is being seen by the world. In this universe, people see only the material, so the design needs to be mysterious, futuristic type because of the real world she is existing. To implement the materialistic, I will create dark style including boots, cyber accessories, lighting etc. This is the look she is going to have while the narrative is developing in the futuristic city.
The internal – the light side of her is going to be shown while the main character is communicating with itself and going inside her world including the place – The Void. The style I want to approach is different from the external dark design I want her clothing to be bright, goddess type. This includes everything from the range of white dresses to golden ornaments, crowns etc. This is showing something very intimate about the character itself because she is representing each persona, she is hiding her true self because she needs to find it. With the development of the narrative, she will go to ethereal places where the scenes are bright, pure, and gentle.
CHARACTER CLOTHING MOOD BOARDS
ENVIRONMENTAL DESIGN
ENVIRONMENT 1
THE FUTURISTIC CITY 57
The Futuristic City is the place where the main character is being created. The city has no name, just a number – 57. The mood is dark, the world will be shown a nighttime only and this city will be part of the first shots in the video. The meaning behind the dark colour palette is that Helena will be born in a cold world without emotions, fears, a world with control and a lot of darkness – the same as in the film called the Matrix. The shots for this scene will be dark and probably extremely long shots that are going to show the whole city, how it looks, and how society feels in it. This is the beginning of the story.
ENVIRONMENT 2
THE MEMORIES FIELD
The Memories Field has this name because here our main character will connect with itself for the first time. After her journey to self-awareness, she will dream about this place and here we will see her in a bright place for the first time. The field is a very important part of her journey as it has strong scenes to be shot here. The place is out of the city universe because it exists in another reality, and it is part of her journey to the void.
ENVIRONMENT 3
THE ETHEREAL FOREST
The Ethereal Forest is a place that will be presented in a bright and dark light because this is the place where our character will realize that she needs to connect to nature because her internal side as a human is being created with the help of nature – that means her soul, spirit, and mind.
ENVIRONMENT 4
THE LAB
The Lab is the actual birthplace of our character and part of the scenes that are going to be shot in the beginning is going to be here. The second time when the environment will be used is going to be in the ¾ of the film, as it will be part of her memories and the last connection to the city. As it can be seen, the place is dark, cold and has a lot of cold colour palette lighting that all shows this environment is part of The Futuristic City 57. This is the beginning of Helena’s journey, so she is very confused at the beginning, doesn’t know where she is, why she is here, her purpose is unknown making her persona clueless about the world around her. That is the reason the environment is going to be dark. But why we are having a lot of bright lighting surrounding and showing the detail of the scenes is because she will realize her purpose here and the lighting represents the brightness inside this dark world. Important place!
ENVIRONMENT 5
THE VOID
The Void is the last scene that will be seen in the video. The void is the magical place where everything is being created which means it is the root of the whole living world. The place will include a lot of arcs, angel statues, bright lighting that shows the highness of the place. Here Helena will see herself and the destruction surrounding her. The void will have two sides also – Dark and bright. At first, the dark side will be shown. A lot of fallen statues of human figures destructed will be presented. In the end, we will see the main character on the bright side of the void because before the good, it is bad, and she will realize that the whole life is one loop, and she cannot stop herself from being reincarnated and living through the hell on earth again and again.
ENVIRONMENTS MOOD BOARDS
OTHER 3D MODELS/ADDITIONAL FIGURES
ADITIONAL FIGURES INCLUDED IN THE ENVIRONMENTS
The additional 3D models are going to be probs for the environments and supporting the background as part of the surrounding. Most of them are going to be sculptures/statues or characters that are part of the environment. They are going to be created for visual effects or part of the different shots as it goest with the storyboard.
ORGANIC 3D MODELS MOOD BOARDS
MOOD AND COLOUR/RENDERING/SHOT TYPES
MOOD AND COLOUR IN SCENES
The colour palettes generated with the help of https://coolors.co/palettes/trending are showing the overall range of colours in all the scenes. The colours created a very dark and ambient mood inside the whole picture, and this is the point. The story is not a romance genre, it has drama, mystery, and thriller, so these colours are appropriate.
The blue colour represents cold, isolation, cerebral, melancholy, passivity, calm
The green colour represents nature, immaturity, corruption, ominous, darkness, danger
The purple colour represents fantasy, ethereal, eroticism, illusory, mystical, ominous
The pink colour represents innocence, sweetness, femininity, playful, empathy, beauty
The red colour represents love, passion, violence, danger, anger, power
The black colour represents hatred, mourning, sorrow, indefinite
The white colour represents mourning, grief, depression
COLOUR AND MOOD IN SCENES MOOD BOARDS
STYLE OF RENDERING AND ANIMATION
RENDERING
In this type of Production, I want to create almost photorealistic rendering using rendering techniques including working and experimenting with lighting, shaders, and render elements. I have always liked more realistic rendering and the attention to detail, so all my visions for the movie itself are realistic. On the other side, the more realistic the render is, the work behind it is being double because the attention to details such as real-time lighting and lighting techniques are important. The texturing also needs mastering, so that is why I decided to work with Unreal Engine and Arnold Renderer for rendering.
As now the new Movie Render Queue came out as part of the newest Unreal Engine 4 and 5, I am planning to work with Unreal for realistic cinematic rendering because of the functions of the software and the wide range of camera settings, dynamic lighting, and animating.
ANIMATION
The Animation will be done with the help of Mixamo that is a website full of motion capture animations that can be implemented to a rig and later be edited with Maya and the power of Animation layers.
STYLE OF RENDERING AND ANIMATION MOOD BOARDS
SHOT TYPES AND CAMERA MOVEMENT
SHOT TYPES AND SIZES
The movie itself seeks attention to detail, so micro and macro are really in the heart of the shooting. There can be a wide range of Extreme Close-up shots that are showing detail of a 3D model in a certain scene or eye movement, emotions, VFX detail, or Wide Shots that are showing the whole picture such as one of the environments – The Futuristic City 57 and all the colors inside of it.
There are going to be wide shots, long shots, medium-long shots, medium shots, close up shots (head to shoulder), close up – extra, close up – head to neck, extreme close up
SHOT ANGLES
The angles of shooting are going to be most of the time eye-level, bird’s eye, high and low. As we want to portray a lot of detail, the dominant shot angles are going to be eye-level, bird’s eye, and low.
CAMERA AND LENS MOVEMENT
The camera movement that will be used and animated in Unreal Engine 4 is going to be:
Track-In; Track-out; Zoom out; Zoom in; Dolly Track Out; In; Tilt-Up; Tilt Down; Ped Up; Ped Down
STYLE OF RENDERING AND ANIMATION MOOD BOARDS
DOCUMENTS
DOCUMENT WITH IDEAS
PROJECT PLAN - THE VOID
SCHEDULE
GANTT CHART - PROJECT PLAN FEATURE
ACTION ITEMS PLAN
NIKOL MANOLOVA - ETHICS FORM
WHY THE ETHICAL CLEARANCE AND APPROVAL IS IMPORTANT
It needs to ensure that the research is conducted in a responsible and ethically accountable way. It is important because of minimizing the risk of harm to humans, animals, and living creatures in general. And the most important is that ensures the research leads to beneficial outcomes. The ethical clearance committees are looking for the research aims and methodologies or the researchers to make sure that the research is going in a way that protects the dignity, rights in every possible way, and safety.
ETHICS FORM FOR THE VOID
STORY AND SCRIPT
ANALYSIS AND DOCUMENT
ANALYSIS OF THE STORY
The Void is a short film expanding on the idea for the living of the main character but the story is quite complex and it has been designed in a way to intrigue the viewer and not be confusing at the same time. One of the mistakes that I am doing is creating complex stories and losing the end of the narrative, it does not matter if it is a character and purpose or the scene narrative itself. That is why I decided to write down the story as I will do it on paper.
When I am discussing my project with the others, I can see how confused they are, because I cannot describe the actual story, I can describe to them what the story is about, what it is in the core concept, and what influences the narrative. My favourite director of all times 'Quentin Tarantino' talked about what it is to be a director and how he starts his productions, and he shared in an interview that he sees the actual scenes and the movie before he starts doing anything. I can say, that, the same thing happened to me. I planned this project for 6 months before starting it and for most of the scenes, I knew how to describe them, how they are in my head, and what will be the whole mood of the film.
Writing a story and script for a short film is different by itself from the feature film because you need to summarise a lot of information and present it visually in a way that will make it easy for the viewer to go through the storyline and dialogue, and understand the concept. It is really hard to summarise information, it takes practice, time and skills.
The Prologue
The starting of the story is in City 57, where we are having the main character - Helena, we can observe how she is being created artificially and being brought to this world alone. The introduction of the futuristic city in dark, green lighting itself creates a dangerous and mysterious mood, that is almost disturbing. As the city is being shown, we observe at the same time the creation of Helena which are two opposites - the city is crushing souls and spirits because of the lifestyle, and at the same time, a new life is being born. It does not matter if she is a robot, or human, or half of them each, she is having thoughts and she is the main narrator.
She is knowing her purpose and the viewer will know it because they are going to listen to the dialogue of her thoughts.
I The dream
After introducing the main character and the whole set, mood, colour, it is time to start the journey. Now Helena is part of the world and she is the observer, the child that starts to explore and is too curious to have a good outcome of its decisions. She is analysing everything around her, and the scene with the window shows the melancholy that is part of the emotions of the character, our main persona is so lonely, she needs to be free and communicate with herself. Now we see the craving for change.
She is falling asleep on a rooftop, the place from where she can observe without being observed, like a god type of scene. Helena is having a dream about herself going to a strange place called the Memories Fields. There she sees herself and starts stalking herself, but she is curious to see if she can find the answer to her curiosity. Later in the Storyboard, it can be seen the difference in the clothing. Her present self is in black clothes, her other self is in white light clothes - later on in the story you will be able to see the foreshadowing and that the reason why she is in white clothing is that she is the future Helena, trying to reach out to her old self and make her wake up from the real world, that means the mentality of Helena as a character itself shows how selfish she is, trying to help herself, but at the same time the city, society and era made her this way, they designed her to care only for herself.
II Memories to connect
This is the first denoument in the story. Helena saw the dream earlier, and now she is thinking about escaping. The scene is being acted in a white room with one char, a door and two robot guards. The first shot will be aimed at her face because here she is sitting in the chair emotionless. But why she is emotionless? It is because the environment she is forced to exist in is pressing her to behave in this way. And as every person who is at a standstill in their life, she is craving for change and the only way to do it is to start moving forward. The following shots are showing how she gets up, walks towards the door, open it and walk even further. After waking, even more, she is imagining a key - what the key represents are her intentions and changed personality traits, now she is confident in herself about escaping and wants freedom from everyone.
III Claustrophobic night in the city
This scene is showing how Helena is escaping from the facility she is in and starts running around the city, meaning she is being chased by the guards. That represents rebellious behaviour, insanity, breaking the rules, stopping pleasing others and starting thinking about your goals and how to break the system. That does not mean she is still happy.
The robots want to shut her down because she is now a thinking robot, almost like a human. They are part of the higher forces which are creating other artificial intelligence robots like Helena and using them only for one purpose that most of the time is including a lot of violence. Impulsive behaviour is breaking the chain and society does not like it.
IV Physical Catastrophe
Helena escapes the guards and walks into a dark room full of mirrors. The very interesting thing about films is that mirrors are having a very interesting meaning. Mirrors are used for moments of reflection, showing how the emotional reflects the physical, the obliviously, these are the positive examples. The negative examples are that mirrors can also be used for contrast and comparison, distortion, delusion, emotional breakdowns.
The connection between Helena and the mirrors is that the scene shows the duality of her persona. The scene is called Physical Catastrophe because here our main character connects with nature and rips out the technology. She is walking towards the mirrors beaning she is ready to see her true self and decide if she will accept it or not. She is also looking at herself in the mirror and sees the files that she dreamt about, she is seeing herself and how her body is being disassembled in the reflection. Now she sees her true self and realises that she has been born destroyed and lonely.
The scene is continuous with the mirrors, her and only 3 lights surrounding these objects and creating a focus only on what is happening with them. When Helena closes her eyes, she is in the fields realising she is dressed in white clothes now. In the dream from scene II, she is the one with the black clothes meaning she had not yet grown up enough, but now she is on the other side. When she turns around she sees her old self reaching to her but now she tells her to wake up.
First of all, when she closes her eyes before imagining the fields means she is in a state of mind where she is dreaming, she is dreaming again. It is not only a dream because now the physical does not matter. We are not going to see these environments again, now it is time to show nature.
V I am the villain
This scene is very important because it supports the ending. Helena is going through an emotional crisis and here she is accepting herself the way she is. She lets go of all the pain and suffering. What happens in this scene is that she is dying, really dying. I tried to write it and present it visually in the most beautiful and not disturbing way because as long as I want to show some real thoughts, not everyone will be able to accept them, not everyone will be comfortable with this topic and there are even very sensitive people who can be traumatised by this. So, I used my imagination on maximum to express what is happening here.
Helena is falling in the middle of the fields because of the overwhelming emotions, she just falls in the grass. Now the timing is really important here, the time is before sunset. Helena has been in her pieck and as now she falls unconscious, all the natural flow has stopped - for example, there is no breeze, no birds and everything is silent.
The flowers around her have formed a crown around her head - I am referencing the film 'Midsommar', because an analysis considering the film scene in the film shows ''The mix of yellow, blue, red, pink, and green flowers are symbolic of controlled chaos in which Dani ultimately asserts dominance over herself and her surroundings. She no longer sacrifices herself for the love of others, but instead embraces a newfound love for herself.''. The same thing is happening here, with our main character. She is happy, the nature is happy for her because in this cycle everything comes to an end.
''The flowers around her formed a crown over her head, representing the sun. She is so happy to be out of this shell, out of the prison called a body. The sunset comes and the beautiful forest has been set to sleep after the traumatic event.'', part of the story and the particular scene are already giving the answer for the crown. After Helena's loss, we see nature and the stars, all welcoming her as part of them and start having the same flow as before like nothing ever happened, because it is natural.
VI The end of life /Memorial/
This is the part where I am introducing Helena's inner world. The scene beggings with how she is in the place called The Ethereal forest and there she is standing in front of the lake she was dreaming how she drowns in. Helena is quietly observing what is happening here, she is thinking about the grass, the sky, the stars (it is nighttime) and how everything is so dark, but she is dressed in white, which creates a very good contrast on how she accepted her faith, she is pure and with her inner self.
The water in the film is being used at first for rendering dual reality and shocking the viewer, as part of a scene, the water represents the matter of meaning to human desires, dreams and secrets and also elicits a sense of fear. Most of the time represents emotions such as sadness even if we include the blue colour that also is being connected to this conclusion.
Helena is going inside the water where she is being greeted by several statues with ruined faces because the human physical body doesn't matter. The ritual is very sacred because, she as a soul is having her secrets and desires, imagination and opinion. As she is walking towards the statues, the texture of the water is becoming red representing the blood. Here, we are not going to emphasize it because, as I said earlier, people are being disturbed by this.
Helena falls on her knees and opens her hands towards the sky. Simply, this means she is ready and safe. There is no fear anymore.
VII The void
This is the final scene which is called ''The void'' because here I will show through visual presentation and dialogue what is the void.
After spreading her hands towards the sky, she teleports to a place where the energy is very pure, high and peaceful. She is in the void, the state of mind where she simply needs to be and show her true colours. The artificial intelligence is standing in front of a lot of statues representing different creatures she dreamt about a long ago, she can see how they are full of destroyed mechanisms and particles. On top of these statues, she sees herself as a statue of white porcelain. Now we confront the character for the last time because she needs to let go of the past before reincarnation. The red tears on the statues' faces represent the pain and suffering.
''Then she touched herself on the chest and her bloody hand left a small mark. And her eyes were full of black tears. Her face was numb and black crystal particles surrounded her.'', this part of the story means that she is intoxicated with all the trauma of the city and life, and needs to be in peace with herself. The particles represent whenever she was sad.
The final part of the scene is how Helena is having a black crown on her head, black tears and she is actually on the floor. Then flashbacks from the scene with the flower crown in the fields are coming. Why I am comparing these scenes. In the end, she is smiling, she is free from the trauma, sadness and dark energy. In the scene with the flowers, she is smiling because her body is not part of her anymore. It means, she is detaching herself from the lower vibrant energy and materialism because she wants to be free and be her higher self. This is the reason for her escaping too.
HOW TO CREATE A GOOD STORY FOR A SHORT FILM
I did a lot of research on how to create a good concept and story for a film, and more specifically for a short film. I found great reference videos that explain a lot of how to write a story, tips and tricks and most importantly, I found interviews of Quentin Tarantino, one of the most popular directors of all time.
Quentin Tarantino reflects on himself as showing his tactics for creating a good movie. He stated that at first, he started working in a VIdeo Shop where he used to organise movies of the week and that inspired him to start acting classes and develop himself as a director. He said that to be a director you need to be in the shoes of the character you are creating and I am really for this idea. We need to bring the characters we create to live, and it is really important to create the personality. In my case, all the portrait drawings that I draw are having personalities, it can be seen through the human facial expressions, eyes, overall appearance. It is difficult to do it if you cannot visualise in your head what you want to show, how you will explain it, how to introduce a scene and create a story circle.
REFERENCE AND INSPIRATION
My inspiration is coming through music, films, books, comics, manga, anime, art, games etc. One of my favourite things to do is watching films and reading their analysis, rewatching them and searching for the deeper meaning, analysing scenes, dialogue, story concepts, and here I am talking about really good movies.
Movies and Anime such as Under the Skin Directed by Jonathan Glazer, Memento directed by Christopher Nolan, Enter the void directed by Gaspar Noe, Fight club directed by, Interstellar directed by Christopher Nolan, Kill the bill directed by, Psycho directed by, American Psycho directed by David Fincher, Ghost in the Shell written and illustrated by Masamune Shirow, Akira written and illustrated by Katsuhiro Otomo to, Neon Genesis Evangelion written and illustrated by Yoshiyuki Sadamoto, Monster written and illustrated by Naoki Urasawa, Beautiful mind directed by Ron Howard, The silence of the lambs directed by Jonathan Crossword Clue etc.
I am inspired by the character's personalities and storylines.
REFERENCE
MUSIC
The playlist with reference music that inspired me
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STORY DOCUMENT - THE VOID
The document contains the finished story that will be used for the Scriptwriting.
SCRIPT - THE VOID
Writing a script is not easy work. The script is having a specific structure and additional information that helps other people part of the production to understand what is happening in each scene. There are tips and tricks for scriptwriting and it is not easy to start it in Google Dox or Microsoft Word. In mother scriptwriting, people are using specific Software to write their scripts.
Personally, I used the software - Celtx. It is very easy to work with it because it is specifically for scriptwriting.
REFERENCE VIDEOS
Videos that helped me develop my scriptwriting and learnt to overcome difficulties in writing.
THE VOID - SCRIPT DRAFT 1
THE VOID - SCRIPT DRAFT 1 SCENE LIST
CONCEPT DESIGN
ART AND DESIGN OF CHARACTER / ENVIRONMENTS / ELEMENTS
CHARACTER CONCEPT DESIGN
SKETCHES
To begin with, creating a character is a specific task, as it is not that easy to create the overall vision, look, and most importantly, the soul inside the character. My vision for the main character is that she is a very strong-willed person, stubborn, passionate, a persona with an individual character inside that cannot trust people at all. Usually, her face is stoned, as she is not showing emotion, firstly because she is Artificial Intelligence, and secondly because she does not like to show herself and be open.
Creating her visually was hard work because as a creator, my task is to create the soul, create a recognizable face, and especially if I am going to work with Metahuman Creator, I needed to create a realistic image of her.
In hours, creating the material, researching and drawing took me 9 - 11 hours per day / 3 days.
RESEARCH
Before the physical work, I had the opportunity to watch YouTube Artist which are discussing the depth of concept design, how it can be created, all the secrets and advice that can give a good reflection to my work.
These Podcasts inspired me and showed me that to be a concept artist or to create concept art, in general, is not only taking the graphic tablet and drawing digitally. There are so many ways to create meaning in your concept art starting from the right references to the right media and even style. Concept art is experimenting with drawing styles, lighting, 3D creation, 2D creation, visualization, color, mood, etc.
This part of the project is crucial because the final design needs to be 3D created and later on rigged, animated, etc.
CHARACTER SKETCHES AND DESIGN
Creating Helena was a challenge. The first thing to do is to work on the face so I started drawing sketches of her face. I created 3 close-up detailed sketches of her, 11 head position sketches, and then started with her face. To create a good face and body structure, you need to know about the anatomy of the human. It took me a lot to work on these sketch concept designs because I thought about proportions, redrawing elements before the outline, and most importantly, I wanted to make sure it looks right.
FACE
Her face is a bit rounded, the eyes are mixed between white and Asian background a little bit. We can see that their facial expression is cold and her nose is partly narrow but the nosal ridge is not too long, and the nose tip is circular. Her cheeks are a bit high and her lower and upper lip are equally big. Her hair is quite long and straight, and her eyebrows are normally positioned for a woman. All these facts help a lot the Metahuman Creator and me to go into depth in the sculpting of the face and choosing a race, features, etc. because, with the turnarounds, It can be seen how she will be looking at the front, 3/4, profile.
Reference material
FINAL CONCEPT - FACE
BODY
Helena's height is 1.67 cm Height, and her body weight is 61 kg. This indicates how to work with her body features, as I cannot draw the body and create different visualization of the height because that reflects on leg length, arm's length, face, torso, etc.
Considering the body type, I also thought about clothes and her appearance. I draw a turnaround of her figure, the body in different positions with different types of clothing just to see if she is alike if she can move well if I am capable of creating that type of clothing in the 3D space. Clothing is very specific, here we need to know the matter because of the material we are going to create, the texture that we will apply if we need bump maps, reflection, shading, and how all of this will apply to Unreal Engine and the lighting.
TO begin with, I created her first concept with the body in her dark clothing. Later on, I drew several positions, and then I drew her in more positions with the light clothing. As a reference material, I used a lot of images for body proportions and posing.
Reference material
FINAL CONCEPT - BODY POSITIONS
THE PROCESS
To begin with, I gave myself 2 days to research and draw the character. It might look easy but drawing takes time, we are starting at the rough sketch, then sketch, outline, shading, erasing, etc. When I finished with all the drawings, I created a template in Photoshop and mainly worked with this software.
In Photoshop, I worked on photo editing and color correction, cropping, trimming, shape creating, typography, positioning, designing, and composing images. It is not easy, as I needed to shoot all of the traditional drawings, work on the color and image cropping, create the template with one of the images and start working with layers and the other image materials.
SHOWING THE PROCESS
FINAL CONCEPT - PROCESS
CLOTHING DESIGNS
To begin with, I gave myself 2 days to research and draw the character. It might look easy but drawing takes time, we are starting at the rough sketch, then sketch, outline, shading, erasing, etc. When I finished with all the drawings, I created a template in Photoshop and mainly worked with this software.
In Photoshop, I worked on photo editing and color correction, cropping, trimming, shape creating, typography, positioning, designing, and composing images. It is not easy, as I needed to shoot all of the traditional drawings, work on the color and image cropping, create the template with one of the images and start working with layers and the other image materials.
REFERENCE MATERIAL FOR CROPPING
PHOTOSHOP WORK
Working with Photoshop is easy, but it takes a lot of time. I drew a figure example of Helena's body digitally and then created a project where I duplicated 5 times the body figure. After finishing with this, I had an idea of collecting image materials and cropping certain clothing, adding it to the models, adjusting it and creating the oveall image through this mixed media technique. It came out really good, as you can see the idea here is to show different clothing outfits, not how good they have been cropped or drawn.
I worked with layers for the different elements of the body including hair, text, hair, clothing, accessories.
Overall, it took me 5 hours to do the research, cropp and croup the elements of the outfits, combine, adjust and export.
REFERENCE MATERIAL FOR CROPPING
FINAL CONCEPT - BODY POSITIONS
ENVIRONMENTS CONCEPT DESIGN
To begin with, for creating all the environmental sketches, I work with a technique called Photobashing. It is a technique where artists merge & blend photographs or 3D assets while painting and compositing them into one finished piece. Usually, I prefer to work with my drawing skills and draw, but as I want to finish conceptual work earlier, I prefer to use reference images and work with them to create all the environments.
My workflow is the same with each environment, I am having a Template where I am putting all the finished pieces later on and explain additional details about them, but before that, I am creating different projects in photoshop. After creating the project, I start working with layers, I am having a background layer and when I put my material images in photoshop and crop parts of them that I want to put in my composition, I copy and paste them into my project and start working with color editing, exposure and color balance, layer merging, opacity and blending, rotation, etc.
Creating a composition is not easy, as here I am trying to create as realistic as possible images, and to show as clearly as possible the style of the whole visual conception. The photoshop process is the same for each one of the environments and each image takes up to 2 hours to be done. I worked 4-5 hours per Environment to create the whole concept design.
RESEARCH
WHAT IS PHOTOBASHING
ENVIRONMENT 1 / THE FUTURISTIC CITY 57
IMAGE MATERIAL
All the images used for creating Concept Art and Design.
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THE PROCESS OF CREATING WITH PHOTOSHOP
Photoshop workflow screenshots.
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FINAL CONCEPT - THE FUTURISTIC CITY 57
ENVIRONMENT 2 / THE MEMORIES FIELD
IMAGE MATERIAL
All the images used for creating Concept Art and Design.
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THE PROCESS OF CREATING WITH PHOTOSHOP
Photoshop workflow screenshots.
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FINAL CONCEPT - THE MEMORIES FIELD
ENVIRONMENT 3 / THE ETHEREAL FOREST
IMAGE MATERIAL
All the images used for creating Concept Art and Design.
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THE PROCESS OF CREATING WITH PHOTOSHOP
Photoshop workflow screenshots.
FINAL CONCEPT - THE ETHEREAL FOREST
ENVIRONMENT 4 / THE LAB
IMAGE MATERIAL
All the images used for creating Concept Art and Design.
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THE PROCESS OF CREATING WITH PHOTOSHOP
Photoshop workflow screenshots.
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FINAL CONCEPT - THE lAB / THE WHITE ROOM
ENVIRONMENT 5 / THE VOID
IMAGE MATERIAL
All the images used for creating Concept Art and Design.
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THE PROCESS OF CREATING WITH PHOTOSHOP
Photoshop workflow screenshots.
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FINAL CONCEPT - THE ETHEREAL FOREST
ENVIRONMENT 6 / THE ROOF
IMAGE MATERIAL
All the images used for creating Concept Art and Design.
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THE PROCESS OF CREATING WITH PHOTOSHOP
Photoshop workflow screenshots.
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FINAL CONCEPT - THE ETHEREAL FOREST
ROBOTS / PEOPLE
IMAGE MATERIAL
All the images used for creating Concept Art and Design.
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THE PROCESS OF CREATING WITH PHOTOSHOP
Photoshop workflow screenshots.
FINAL CONCEPT - ROBOTS / PEOPLE
SCENE MAPS
The scene maps are presenting the different environments and the grey boxing includes additional information about lighting source, actor placement in the scene, camera position. The maps are helpful, as, in the late Pre-Production person, the creating of the environments will be easier, because I will work with them and stick to them if I did change some of the perspectives.
FACE
The maps are a standard process, they are created with Photoshop using text, shapes, layers, background color, etc.
SCENE MAP 1
THE FUTURISTIC CITY 57
SCENE MAP 2
THE CITY - ROOF
SCENE MAP 3
THE CITY - STREETS
SCENE MAP 4
THE CITY - MIRROR ROOM
SCENE MAP 5
THE LAB
SCENE MAP 6
THE LAB - WHITE ROOM
SCENE MAP 7
THE ETHEREAL FOREST
SCENE MAP 8
THE MEMORIES FIELD
SCENE MAP 9
THE VOID
STORY BOARD
STORYBOARD STORY / ANIMATIC
STORYBOARD
WHY STORYBOARDING IS IMPORTANT
Being a storyboard artist is important. The storyboard is usually the first rough attempt of seeing visually the whole concept of a film. Recreating visually a story is very hard but that is why it is so important to have a lot of logic in yourself because there is terminology behind each thing put inside the storyboard.
There are different types of storyboarding and storyboard layouts. Some people have artistic skills and create more complex images, others can work with stylized images and shapes, even stick figures, and create a good visual story, others can work with photo bashing and still create a good visual narrative. The storyboard layouts can be different, some of the templates are with 2 images per page, others can have 8-10-20 per page and all depends individually.
A lot of the details ( arrows, different shapes, numbers, text, etc.) around the actual images or sketches are really important because storyboards are going to be used by technicians, editors, actors, camera operators, etc. Another importance is that the director can see if the length of the time is accurate, or is it too long, too small.
Details such as camera type, shot type, description, scene, act are really important for getting in order all scenes and doing a breakdown of the actual scenes. After the storyboard is done, the image material can be used for creating an animatic which is usually very static and only the images are animated including transitions, etc. When the storyboard is done, usually the film is going the way the storyboard is, but that does not mean that the director is not going to cut scenes or shots.
With the storyboard, there comes the SHOT LIST, which is as important as the storyboard itself. It is important again for a lot of people including musicians, renderer artists, animators, composition editors, etc.
RESEARCH VIDEOS
Before even starting with the storyboard, my task was to research how exactly to create my storyboard, what types of techniques to use and how to create my template.
I found really good videos about storyboarding including analysis of the storyboard of one of my favourite film productions - Parasyte, the Korean film directed by Bong Joon-Ho.
HOW THE STORYBOARD OF 'THE VOID' HAS BEEN
DONE
For the workflow, I worked with Adobe Photoshop 2022 and entirely created the storyboard there.
First, I researched and referenced image materials from which I was able to crop parts, work on their borders, copy and paste, work with layers, modify and create what I see in my mind. I used the technique Photobashing that has been used for the Storyboarding as well because I did not have much time for the storyboard and it is very important to have it right on time. The second reason why I used it is that It looks more professional and visually pleasing.
It took me 3 days - 8 to 10 hours per day, to create the whole storyboard that contains 110 shots including transitions and credits.
The first thing created is the Storyboard Template
After finishing with the template, I started working individually on each shot on a different project that I exported as a png file with a certain shot number. The whole storyboard is with black and white colour images, as I did focused on the narrative, not the colours. Each shot has been transferred to the template, and then a shit type, camera type and description have been added under the shot. A lot of shots are having information on themselves such as text, arrows, descriptions to be able to explain better what is happening.
IMAGE MATERIALS
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PHOTOSHOP WORKFLOW
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FINAL IMAGE MATERIAL
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THE VOID
STORYBOARD
THE VOID
SHOTLIST
THE VOID
ANIMATIC
The animatic has been done with the software Premiere Pro 2022. My task was to import all the image materials and I used the storyboard to place all the images in order, create the transitions, and add text. It took me 1 hour to create this rough animatic draft, and the duration is around 4 minutes. The duration helped me see realistically that the film can have even longer duration because of the animations.
My final outcome is that I will change some scenes and will remove shots, and also add more transitions.
PREMIERE PRO WORK SCREENSHOTS
After finishing with the template, I started working individually on each shot on a different project that I exported as a png file with a certain shot number. The whole storyboard is with black and white colour images, as I did focused on the narrative, not the colours. Each shot has been transferred to the template, and then a shit type, camera type and description have been added under the shot. A lot of shots are having information on themselves such as text, arrows, descriptions to be able to explain better what is happening.
IMAGE MATERIALS
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THE VOID
ANIMATIC
AUDIO BRIEF
SFX AND SOUNDTRACK RESEARCH
SFX AND RESEARCH
SOUND AND FILM
W Creating a film and showing a story visually is usually 50% visual and 50% sound. From the smallest detail to the largest, in a scene, the sound is part of the whole concept. We cannot fully understand visually without sound, as it comes as a piece of the puzzle and creates the full picture.
But how does sound contribute to the effect of a film?
If noise is diegetic, it is part of the world of a film, anything that exists physically in the film.
If noise is nondiegetic, such as voice over and background music, it exists outside of the world.
The music and noise are creating depth in the scenes and help the viewer to go inside the world of the story.
REFERENCE VIDEOS
WHY WORKING WITH MUSICIANS
Working in a team with people from different industrial positions and creative areas is inspiring and creative. On this project, I will be working with a Music Production student, and I created an Audio Brief document including all of the information of the project, including audio references constructed for each scene. The document will help the Sound and Audio person to go and take a look in-depth at the overall mood of the film production and have a visual idea of what I need as a creator.
AUDIO BRIEF DOCUMENT
ENVIRONMENTALDESIGN I
RESEARCH / ASSET PACK LIST / PERSONAL 3D MODELLING
ENVIRONMENT- RESEARCH
CREATING AN ENVIRONMENT FOR FILM / RESEARCH
The landscape is central in the formation of cinematic space, and creates depth, and meaning to cinematic events and positioned narratives. Creating an environment for film or game is specific, as a lot of movables need to be considered where to be placed, are they the right scale, and logically, do they exist in real life ( if you are working with VR, 3D in games and films).
To begin with, working in a 3D space for the Entertainment industry is having only one main focus, to entertain the viewers (games, film) and users (for games). The viewer must reach out and establish a particular sense of place, and it does not matter if it is on the movie screen or while playing a game.
For example, working with Virtual Reality has been increasingly used and applied in filmmaking in recent years, so the integration of Film and VR is becoming a very important step in breaking through traditional filmmaking. There is a new type of filmmaking named '' Cinematic Virtual Reality, and it provides a VR experience where individual users can experience real life through synthetic world experience in 360°.
Unreal Engine in Film making.
Unreal Engine 4 (UE4) is the future of visualization, film and even games. The game engine is particularly created for games in the first place, but the film industry is trying to pass the bad rendering quality and tries to go even further in creating realistic cinematics and animations, so UE is the next important tool of the future. The recent years, people have been working with the Engine not only for games but creating realistic landscapes, environmental places, and interactive real-time productions.
The reference videos are showing different projects and how the workflow with Unreal Engine 4 is being done.
The arguments for why working with the new technology is having very straight forward answer - it is easy!
For example, it will take time to hire people who are going to construct the environment, plant the layout, create concept art etc., but this will safe money, travelling, and additional elements coming with all this. Everything will be done in studio, it will take less time constructing the physical assets such as screens, computer tech, cameras, microphones, etc.
Also, a scene can be real-time rendered with Unreal Engine using green or blue screen.
CINEMATIC ENVIRONMENTS AND UNREAL ENGINE
Unreal Engine 4 and the new 5, is having their specifications and workflows because it is created for building worlds and especially 3D worlds. But how exactly a scene can be built, is a very good question. There are so many talented environmental artists and their job is to build the world where the narrative is, it does not matter if they work for games or film.
Artists are creating cinematic worlds, they start from a concept, go through grey boxing, and finish with whole textured, and lighted scenes. It is amazing what a person can create using their imagination, and with Unreal Engine 4, the unreal worlds that exist in our heads can be built fast.
For example, I researched and found a tutorial with Olivier Dubard, an artist that created environments and teach people how to do it. He is not particularly working with UE4, but the workflow is similar, and it can be seen in depth what are the steps, and how he is creating Cinematic World.
Another video that I went through is Working with Megascans in UE4 and how to create a Photorealistic Environment, the tutorial is amazing and shows exactly how it has been done.
HOW THE VOID IS CONNECTED TO ENVIRONMENT CREATION AND UE4
The Void will be entirely created in Unreal Engine 4 with the help of Assets from Megascans, Metahuman creator and Quixel Bridge, and other plugins working directly with the Engine.
All of the environments will be created in a different project as a scene project, for example, The futuristic city 57 will be created in Project Scene 1- The futuristic city 57, the Streets will be created in Project Scene 2 - The Streets, etc.
For the physical layout and grey boxing, I will be using Scene Maps of each Environment that I created (Part of Concept design).
The main goal in creating all the Environments is to be as realistic as possible and to recreate the concept art sheets.
ASSET PACK RESEARCH
To begin with, I am mainly focused on Quixel Megascans and Bridge integration, and the main goal is to create an Asset list for each scene I will be working on and use the Bridge plugin in UE4 and download, import assets into the certain scene straight from Bridge.
Each Environment is different from one another and my task is to find the appropriate assets for each scene guiding me from the Environmental concept design sheets.
For example, I can show screenshots of the collections I will be researching for assets and create my Asset List.
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UE MARKETPLACE
The other source of taking assets is UE Marketplace because there can be found impressive realistic high-poly assets and whole asset packs that can be used in some of the scenes in ''The Void''.
There are Asset packs with quilt sample scenes for free and their assets are incredibly detailed and realistic, so it is a good choice to research in UE Marketplace
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ASSET PACK LIST
ASSIGNMENT 1
PRE-VIZ
WHAT IS A PRE-VIZ AND WHY IT IS
IMPORTANT
Research and ideas
Pre-visualisation is part of the preparation for filmmakers and creative content creators. It serves a wide variety of purposes, such as analysing shots of the production and showing the overall idea of the entire creative project. When the idea is clear and has a plan, it is easy to put in order the visualisation. Pre-Viz can be so good, that they can be almost the finished production. There are a lot of talented people around the film and game industry that can create Visualisations and show smart visual outcome.
There are different types of Pre-Visualisations and I will introduce you to some.
RESEARCH EXAMPLES
HOW PEOPLE ARE CREATING PRE-VISUALISATIONS
The pre-visualisation can be created digitally with 3D software. Also, the creators can record scenes from block-outs, meaning the grey-boxing scenes and rough animations, compile them (edit a composition) and export a video file with the pre-viz. People, most of the time, work with storyboards and shot lists, and other additional documents.
THE TASK ITSELF FOR ASSIGNMENT 1
The purpose of this assignment is not to show only visually, but to show and tell visually the whole process of creating our projects. We have to include information such as the project goad, project plan, project creator, techniques of creating and visually to show examples of past finished work, and to be able through references to show the future work that will be done.
It is really interesting because the students can present their style in their final project.
THE PLAN
My plan for creating the Assignment was simple, but all the tasks took time and effort.
First, I created a Document with the Dialogue Script Draft where I put details about the assignment and bullet points. After that, I created a final Document with the Script, where I broke down the Production stages / Pre-Pro; Pro; Post-Pro / and started breaking down inside of them. For example, in the Pre-Production stage, I talked about Concept Art, Documentation, Environmental Design, Story and narrative, etc.
The second step was to record my voice as I am talking using the script document. I recorded my voice with my phone and uploaded the file in my Assignment folder. Also, I found 2 different background tracks and downloaded them.
Step three was searching for image and video material, that I can create compostiion with and edit in Premiere-Pro later on. I found all the image and video material and put them all in one folder.
Created a Reference list.
Created a project in Premiere-Pro 2022 and imported all of the materials, including audio recording and copyright-free tracks. Edited all of the material starting with rough composition and later on polishing.
Finished the video, exported it in 1080 HD mp4, uploaded it in YouTube.
DIALOGUE SCRIPT DOCUMENT
IMAGE AND VIDEO MATERIAL
Video material can be seen in the Reference Document
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VIDEO EDITING
The composition creation and video editing were the hardest part of the whole project.
As you can see on the screenshot images, I worked with a pretty intense composition. My job was not only to edit but to organise the whole material on the slide. There were 3 types of text, each type on a different track slide.
For example, the main text titles are pre-production, production, etc. The second main area is the titles in between these big titles, such as Animation, Concept Art, etc. The next main titles were the reference titles on each video or image.
After placing the recording with my vice, I started listening to it, cutting all the material I do not need, and organising it on the slide. I put all the text and then started choosing and putting image/video materials. I was cutting, combining pieces with text and sound.
When I did the rough composition, I went through it again and added all the transitions, and animations (text, image, video).
One of the last steps was the background tracks, I imported them all and worked on the intro and outro volume to synchronise them and create transition.
When I finished with all of this, I made a final edit and exported it from Premiere Pro. The cover image for YouTube is done with Photoshop.
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