Pump jack now textured!

Here you go guys! Finished and textured fully.

Crane now textured!

Here you go peeps! I'm pretty happy with the textures I've given the crane, and hopefully you will be too! I've also done a basic render to showcase some basic lighting.

Progress of the Crane

Modeling modeling modeling, that's all I've been doing! I must say it's been incredibly awesome learning how to model properly with Maya, especially since I haven't really ventured into the modeling side of things until now. I'll soon be texturing both this and the crane in the coming days, I just wish to first fine-tune a few issues with both of the models.

Progress of the Pump Jack

Here's the development of the pump jack! You can see what appear to be a few anomalies, however these will eventually be textures applied onto them.

Lighting examples: Sunset

In order to create a decent lighting feel, looking at sunset lighting truly does help us in our knowledge of how the world should look.

Lighting examples

I think it is in the interest of the project to highlight the importance of lighting in this piece.

Since the start of the project I've been researching into different forms of lighting to create something that echoes that of film. We all want something that shows the environments true atmosphere, so hopefully by looking at the work in film, it can give us a good example of how to do this!

Blade Runner

Cinematographer: Jordan Cronenweth

When it comes to Blade Runner, I must admit I'm a bit of a fanboy. The film is in my eyes absolutely flawless, it is truly superb. Not only is the story brilliant, but also visually speaking it is breathtaking. The films cinematographer was Jordan Cronenweth, his visual representation of the world is in my eyes is some of the best there has been in film. The way he got his team to assemble the lighting was amazing, with its wonderful negative space, and blue colour grading it creates and sets a tone that goes well with the characters.





2001: A Space Odyssey

Cinematographer: Geoffrey Unsworth

Like Blade Runner; 2001 is a true masterpiece. The film was planned to be photographed in 3-film-strip Cinerama (like How the West Was Won), but was changed to Super Panavision 70 (which uses a single-strip 65 mm negative) on the advice of special photographic effects supervisor Douglas Trumbull, due to distortion problems with the 3-strip system. The lighting is for the most part quite basic, or at least it looks basic from the point of view of the viewer. Once you investigate more it is very apparent that lighting is the key to the film, so this is why I will chose to research into the films lighting a little bit more.





Wall-E

Cinematographer: Roger Deakins

Wall-E is a very good one to look at because it is a computer generated film to start off with, in being CG we can look at it in more depth. I feel Wall-E is also visually very similar to what we wish to achieve, but obviously Wall-E is on a far greater scale than what a few people with laptops can do. But in terms of the lighting it is simply gorgeous, the screen I've uploaded should demonstrate that.

Depth of Field

As I mentioned in the aspect ratios post, depth of field is very important for the film.

There are a few misconceptions with depth of field.

Firstly something that is fully in focus has what's called a large depth of field, since it's all in focus. Whereas something with a shallow depth of field only focuses some of the scene. So saying something such as "this image has a lot of depth of field" to an image that really has a shallow depth of field is infact completely wrong.

Depth of field relies on the aperture of the camera, if I were to shoot a picture with f22, it is pretty much a given the scene will all be in focus. If however I were to shoot a scene in f1.8 you will get a lot of the image out of focus.

f1.8



f22



I hope to use the right aperture with each scene to create something that echoes that of actual film.