Final Major Project Evaluation

2D animation, Animation, Digital Art, Evaluation, Film, Final Major Project, U6_U12

I was given the task to create and follow my own brief for my final major project and I instantly jumped at the idea of creating an short animated film. Having just come out of animating a 3D game trailer, I was itching to go back to the good old 2D ways of animation. The common response I got from my peers when they heard about this was a lot of, “Animation? Again?” followed by a, “Of course it’s animation.”. Suffice to say, when I start animating I don’t really know how to stop.

 

Initial Concept and Development

I had a few ideas running through my mind when I began thinking of what sort of film I could animate. I also had a few questions too. What kind of film should I animate? What genres do I want it to be? What can I finish in just over a month? These questions kept bouncing around my head as I sat staring at the blank briefing sheet in front of me. I knew that I wanted to do one of two things – create a story with a serious tone and meaning, or create a lighthearted comedy skit. I knew that I didn’t want to dabble with things like spoken dialogue just yet as I would be struggling enough to get the essential scenes and movements organised and animated in time, let alone figure out how to animate lip-sincs and study the theatrics behind a character’s spoken performance. Just animating a short for my final project in less than two months was ambitious enough already. And besides, with the ideas that I had in mind I knew that dialogue wouldn’t be needed.

My first idea was to create a short, sci-fi action adventure film. The setting sprung from my previous project which was a 3D animated trailer for a sci-fi, puzzle and adventure platformer game. Since I had been playing around with a lot of 3D at the time, the thought of utilising a combination of both 2D an 3D animation crossed my mind several times. It wouldn’t be the entire story, just the climax or the main scenes – enough to more or less let the audience have an idea of the plot. However, after seeing that I only had experience in animating for as long as 30 seconds in the past, I figured that anything over two minutes of animation would probably ruin me with the 8 or so weeks that I had. Time constraints, as always, were the main concern on my mind throughout the whole project. As intricate and visually appealing the idea of a sci-fi story had on me and exciting as combining 2D and 3D animation together was, I knew that it would be on the verge of far too much new material and work to handle with what I was given. It could have worked for a quick and simple animation that lasted maybe 30 or 40 seconds, but not for two minute sci-fi, action heavy animation. I decided to save that idea for another time.

So this lead me to settle with the slightly less ambitious idea of creating just a simple comedy sketch animation that in the end went on for about 1 minute and 45 seconds. The premise of this idea was simple and straight-forward; a boy one day drops his lunch and chases after it as it suddenly springs to life and runs away. It was basic and plain, but it allowed me a lot more creative freedom and room to develop things which was a relief after having tried to handle the overly ambitious and slightly directionless idea that came before it. This story came about when I was really struggling with the sci-fi premise one night. It just wasn’t going anywhere and I was pulling at the strings to figure out a two-minute long narrative for it and I was beginning to lose interest in the idea altogether. I took a break and was then reminded that my brother would be staying with us later on in the week. I started wondering about the sorts of stories he’d end up telling me about his crazy university life like how he always did, and that eventually escalated to me trying to think of a funny story he’d tell me. I ended up with a run-away sushi roll. And that’s how it all started.

Research and Inspiration

After deciding to solely stick to the method of 2D animation, I quickly began research on various, already-existing animations within the cartoon industry for inspiration. I had a look at studios and people that I admired; particularly the new-age, independent and commission-based individuals. Ex-animation students with wonderfully diverse, characteristic and smooth animation styles have always been a huge inspiration to me as I liked to think that I would one day reach that point too. They weren’t Disney’s Nine Old Men (considered to be the first core animators and film makers of Disney) or Warner Bros. most notable creators – but they certainly had the potential to be some of the top, next-generation animators in the cartoon industry. I loved what they did and really wanted to try and emulate the quality of the thesis films they made at university-graduate level with my own final major project.

In terms of the setting, characters and story, I took inspiration from my personal life and started off with my brother. I decided to base my main character around him and have the setting take place in a town similar to the one I grew up in. The town was always famous to me for it’s sheer amount of diversity in the people, particularly with people from Asian backgrounds. Because of that, I grew up with friends and classmates from all over the world and thought it would be a great idea to incorporate people of different races into my animation and celebrate that variety of cultures with my characters. I also had a look at other similar stories to mine such as ‘The Runaway Pancake’ and loosely based my story off of that.

In order to be able to produce the quality of work that I was aiming for, I knew that I would need to have a strong understanding the basics of animation and really dig into the techniques. I started re-reading Richard Williams’s 1957, ‘The Animator’s Survival Kit‘ and really examined the fundamentals of key frames and in-betweening, as well as read up on the crucial elements of timing and spacing. I kept all of this in mind when I was animating later on and adjusted my work accordingly so that the animation was as correct as I could make it.

walkreference1

An excerpt from Richard Williams’s ‘The Animator’s Survival Kit’ (1957)

 

I looked online and found a website called The Flying Animator that had a load of free, essential resources for animators to use. They had storyboards in difference aspect ratios as well as exposure sheets. I was so delighted to find this, as a lot of other storyboards online were predominantly designed for film rather than animation. The storyboards here weren’t so over-complicated with dozens of fill-the-blanks specifics and unnecessary sections but were substantial enough for me to input the crucial information such as page number and animation title. I printed these out and put them to good use once I started pre-production on my animation.

Pre-Production

At first, I wanted to use my college sketchbook as the final sketchbook to present my development work in, but as it was taken in for marking at the time I didn’t have access to it. This led me to frolic around on plain paper and other sketchbooks that I had at home for a while until I came up with the idea of using a folder like how I used on for my previous film trailer brief to present my ideas in. That way, I could organise and rearrange my work however I pleased and add to it in any section I wanted to because I could shuffle and move the pages around. I thought this would be great for me if I needed to edit anything to make the thought process clearer and more understandable. It turned out to be really useful when I received feedback from my tutor and peers about my development work and what I could add and edit. Thanks to them, I added colour swatches and more character art into my sketchbook to help present the thought process behind the design more thoroughly as it was lacking in that before when I first showed it to them.

After I had more or less decided on the character designs, I moved onto the music and sound effects. After settling on creating a ‘silent’ film with no spoken-dialogue, I thought that animating to the music would be the most effective choice here. Combining the visuals to the sound would make the film more dynamic in it’s presentation – and for a sort of action-adventure skit, I thought this would be very suitable. I didn’t have the budget to commission a piece from a musician for my work and asking for an artist’s permission on a song was too risky and time consuming so I went for anything royalty free and under Creative Commons. As I was browsing around, it suddenly occurred to me that most old classical music was in the public domain. This struck the idea of using a very iconic and energetic piece like the William Tell Overture as the backing track to my animation as classical music was a big part of my childhood.

I used Audacity to edit all the sound and music as it is probably the best free audio editing software available. I cut down the music and also edited my collection of other sounds effects (from freesound.org) that I thought would be needed. The storyboard was especially useful in this case for helping me make choices of where to add extra audio.

Animation Production

Choosing which program to use to do that main animation in proved to be a bit of a challenge. I knew that I would definitely be using Adobe After Effects to do the compositing and editing in afterwards, but the actual frame-by-frame animation needed to be done in a separate software. I thought about using Photoshop again like I did last time I animated in 2D, but the animation function on that program was so incredibly basic and the ‘propagate to frame 1’ feature which automatically copied your current frame onto every other frame in the sequence was something I’d much rather not deal with again, especially when concerning the amount of frames I’d need to animate. I needed an actual animation program, something like Flash or TVPaint. In fact, I was very tempted to use those programs, but I was also concerned because I wasn’t familiar with them at all and was worried that learning a new program with the time that I had would be too difficult to handle.

It was around this time that the illustration program that I had been using for the past three or so years called Clip Studio Paint released it’s new animation feature in it’s latest update. When I saw this, I immediately had the urge to try it out and see what it was like. Clip Studio Paint is predominantly an illustration based program which has had previous expansions for comic and magazine publishing. However, this new update which included animation took me by surprise and to my delight, was far more competent than Photoshop’s animation. I was impressed to see professional animation studios in Japan use this software for their layout design and animation and knew that it would be perfect for what I wanted to create. Seeing as the program was so familiar to me, I knew that  would be able to get a lot done with this newly added feature. I really liked how customisable everything was, like how you could adjust the colour and opacity of the onion-skin settings. My only criticism would be that you couldn’t copy and edit an already existing frame without also editing the original frame. That would have been so helpful to me during the animation process and I wish there was a way to duplicate frames onto new frames and change them without changing the original…but other than that and the exporting, I couldn’t find any other faults with the program. You could use all of the previous functions as well as the animation functions at the same time – it felt more of an add-on rather than a different section of the program like Photoshop’s. Everything was integrated and it just made things so much easier to navigate and use. I was quite impressed.

Thanks to my storyboards, I was able to get a clear idea of what I wanted out of each scene, allowing me to have a good understand of how to create all the pans and layers for the scenes that needed it. With animation, it’s always trickier to animate things like pans and camera movements because you always need to draw the entire background to cover everywhere that the camera will move before you start animating. This, I’ve come to learn, often leads to very unusual canvas sizes in order to compensate for the camera not being static. As much as I really appreciated the fact that you could render and export your animation into an .avi movie file straight from Clip Studio Paint, I was disappointed that you couldn’t animate the camera to move around. This meant that any pans or more specific shots all had to be saved as stills frame-by-frame and put together to be edited in After Effects afterwards. This gave me a lot of grief when having to create folders upon folders of just animation stills to then import, cut down and animate in post production. But I got it to work in the end, so that was all that really mattered to me. If I ever gave feedback to CELYS (the developers of Clip Studio Paint,) on what to improve and add in future animation updates, it would be to firstly have the animation cells copy-able without effecting the original cell, and to be able to animate dynamic camera movements.

I spent three weeks solely working on all the backgrounds first before moving onto animating the key frames. Having a background to animate the characters onto works a lot better than trying to do it the other way round, as this way you are already given the solid ground to have your character step on and interact with. Try it the other way and you’ll likely find you’re character wobbling on nothing with a skewed and inaccurately drawn background added in later on. It was important to establish the perspective and angle of the scene before animating the rest. I spent the next five weeks just solid animating. It was a really crunch time, but to me that’s the fun part of animation.

Post Production

For the majority of the overall production process, I would immediately edit and composite scenes into After Effects after the animation was completed to save time and really speed up the post-production afterwards. Before the editing began, I was given a word of advice from my tutor to split the film into sections and edit them separately to avoid ending up with a huge file size that could slow down my work process and crash the program. I’m glad I listened to him, because even as I was finishing the final edits on the separate parts I could tell that After Effects was beginning to lag. Had that have been all in one, it would have been almost impossible for the program to run whilst trying to deal with the massive amounts of edits and frames. The file would have possibly fried my tablet and there was no way I was risking that. Splitting the film into more bite-size sections made the whole editing process much more manageable and less overwhelming to work with.

I then used Premier Pro to bring the four parts together and add the music and sounds in. Sorting out all the sound files and music choice earlier on really helped smooth out the post-editing process.

I rendered the final film and uploaded it onto YouTube and Vimeo and then proceeded to collapse onto the bed and sleep for 10 hours. It was 5:00AM.

End Of Year Show

At the End Of Year show at my college, all the classes had to present their work as part of their grading, but also as a send off for completing the course. I was given the equivalent of roughly two A3 pages of work to mount and display.

During the final weeks of my course, I had to print, cut and spray mount stills from my animation for the show as well as posters and turnarounds. I exported frames from After Effects and carefully resized my works for printing and set the colour profiles to CMYK. Since I had an inkjet printer at home, I did the majority of my printing there and then brought them into college to have them cut and spray-mounted onto foam board. I was shown how to use a scalpel safely and how to correctly spray-mount my work by my tutor, who then let me help others with their work.

However, I also wanted to take this chance to create a fun promotional poster for my animation and have that displayed too alongside the rest of my work. I wanted this piece to be properly printed at a specialised printer, so I did an online search for local printers. Unfortunately the prices for a lot of printers were quite expensive and the delivery times were all due after the show date. So I decided to go to Boots to use their on-day printing service. Having had previous experience with their printing service, I reckoned that they did the best job of delivering relatively cheap, quality prints in a short amount of time in the area. When I got my prints back, I was not disappointed.

The day of the show was incredibly busy, but in the end it was a lot of fun. In the morning, I was busy helping the class prepare for the show. As I had finished early, I helped my classmates cut and mount their pieces onto foam board and helped clean the room ready for the show in the evening. I had my animation playing on loop on one of the PCs and also had my work displayed on the MDF boards. I stayed throughout the majority of the show and received many comments of praise on my animation from teachers, children, parents and even other animation students. Overall it was a really positive experience and I’m glad I got to spend it with my colleagues and tutors. My brother came to congratulate me too. He seems to be quite pleased with sushi boy.

 

My final major project has taught me a whole variety of new skills – from time management and self-directing, to building on feedback and presentation – all whilst learning my ways around digital animation and new software. I think that I could have added some more frames in the animation to smooth out the movement out a little bit more, but considering everything that I’ve done it’s a miracle I’ve managed to get this much completed really.

It’s been a real learning curve and exercising point for me as an aspiring animator, but above all else it’s been a very valuable experience which I hope will help propel me forwards into the future.

 

 

Final Major Project: Animation Process

2D animation, Animation, Editing, Film, Film Studies, Final Major Project, U6_U12

Using the storyboard as a reference, I started animating my animation in Clip Studio Paint EX. The Japanese drawing program was originally intended to be used for illustration purposes, but released an English version and upgraded the functions to poster design, comic work and most recently – animation. Click on the images to read the descriptions.

Once the film was finished, I uploaded it onto YouTube and Vimeo.

Neo Noir Film Trailer Evaluation

Evaluation, Film, Film Studies, Film Trailer, Neo Noir, U66

For my film course, I was given a brief to create a Neo-Noir themed film trailer based on the game LA Noire in a group. I had the roles of the production manager, script supervisor, camera operator, audio editor and production designer as well as being the on-set stylist during the shoot. I created crucial preproduction assets such as storyboards and character designs, as well as recorded the ADR dubbing and create trailer graphics during post-production.

Initially I wasn’t that familiar with the film noir genre, but I had definitely heard about it and seen clips from iconic noir films before so it wasn’t completely unknown to me. I did some more research on it and had a look at various films from the genre such as The Third Man and L.A Confidential. I also studied the various characteristics of the noir genre and was really intrigued by it’s style and mood. I looked at both the tropes and low-budget filming techniques as well as the game L.A Noire which we were to base our trailer on.

Once our research was complete, my group started planning and developing scripts, storyboards and designs for our trailer. We bounced thoughts and suggestions back and forth between each other until the script was done and ready for storyboarding. I personally think that at this early stage, I should have definitely spoken up more about my ideas and thoughts. There was a slight lack of communication and I definitely feel like I could have perhaps contributed more with the development.

When we moved onto filming, we decided to film at Drew grandparents’ house as the interior was very fitting to what we were aiming to shoot in. But because of complications, we weren’t able to film as soon as we had liked to which led to major setbacks in our scheduling. The house itself was very decadent and really suited our trailer – but I still don’t think that it was worth enough to delay our project to such an extent.

When we arrived on-set for filming, we had a look around at all the rooms and starting thinking about exactly where and how we were going to shoot. At this point I was adamant about being more active in organising the group, especially since we were having guest actors to participate. So I created a Facebook event and herded everyone together to inform them about the day’s schedule and items to bring. I also created a Skype group to help relay the necessary information onto Michael, who did not have a Facebook. I was really pleased with my efforts and I remained active on social media to message everyone and make sure that we were all updated and knew what to bring.

Overall the filming itself was a good experience. I’ve had previous experience with filming before, so operating the camera and managing the on-set environment wasn’t new to me. I had a lot of fun helping Daniel and Jacob with the directing, as well as making sure everything behind the scenes was organised whilst the filming was happening. However, I feel like I should have been more active in my participation with the main filming. I might not have been the director, but in the end it was my group’s trailer and when our guest Jacob encouraged me to make more active decisions, I should have picked up on them instead of being passive about it and leaving it to my team mates to decide.

Once we had finished filming for that day, a lot of issues began to occur. We waited a week after the shoot to receive our footage because Jacob had no way of transferring 8GB of film footage online. When we finally received the SD card from Drew, I immediately copied it onto my USB stick to keep for editing. Everyone else had downloaded the footage onto their Mac PCs before giving it back to Drew, but then Daniel’s PC had to be wiped for repair and he no longer had access to the footage. So I helped him get the files for editing, which slightly set back my work progress for editing the music and sound.

I felt that we didn’t have enough clips to work with during editing despite getting most of the scenes in the storyboard filmed. I worried about having this issue at the start too, but I didn’t actively approach it with the group on the day we filmed which was another mistake on my part. In hindsight, I feel like my group heavily underestimated the amount of footage we would have needed for the trailer. I also felt that despite my efforts to encourage our group to communicate, I didn’t manage to respond soon enough to the group’s progress. One simple way I could have improved on this would have been to organise a group meeting at the start of every lesson and have everyone come round together to discuss what we were all going to work on and how the trailer was progressing overall. Then, near the end of the lesson, we could review our progress again and make any necessary critiques and changes to each other’s work. That way we would have better tracking on our work.

In the end, I know that our group worked incredibly hard to make up for the incidents that set us back. We communicated more when we hadn’t communicated enough, and did our very best to produce quality work with what we had. Overall, despite knowing that I could have done more personally, I am pleased with how my team mates and I have responded to this project. I’ve certainly learnt a lot, and I think that the final outcome was up to the standard that the brief had set out for us.

 

Neo-Noir Film Trailer Progress Log

Film, Film Studies, Film Trailer, U66

For our Neo-Noir Film Trailer project, I was given the roles of production manager, script supervisor, camera operator, audio editor and production designer as well as being the on-set stylist during the shoot.

Character designs and Initial Ideas

At the start of our project, my group began researching different aspects of film noir to help familiarise ourselves with the reoccurring themes and stylistic motifs of the genre. We analysed trailers and looked at classic films which gave good examples as to what kinds of characteristics noir has.

I also decided to create character designs to help out with the wardrobe choice and to make sure that the costumes we would then shoot in were styled to the film noir era (early 1940s – late 1950s).

Preproduction and Storyboarding

My colleagues Drew and Daniel were in charge with producing a rough screenplay, as well as brainstorming and deciding on the different shots used in order to eventually send to me for storyboarding. Once I had received the screenplay, I then began drafting out a storyboard with help from the two to keep things accurate and consistent throughout.

Call sheets and Filming Preparation

Drew was mainly in charge of organising the shoot’s location, but I ended up helping out with adding the final details to the Call Sheet such as the weather, wardrobe and additional actor details. I also helped with the management and distribution of Call Sheets, creating a Facebook event for the shoot and messaging the film crew with constant updates about what to bring and how the day would run. I went round making sure that everyone had their props, costumes and equipment sorted out and ready to bring to the film shoot.

Filming Shoot

I arrived at the shooting location on time with make-up and hair equipment for one of the actresses, Isabel. Jacob who was in charge of bringing the filming equipment, was running late so in that time I decided to get the hair and make-up done for everyone as well as have a look at the rooms we were going to film in.

Once we started filming, I helped direct some scenes and explain to our main cameraman Jacob about the types of shots whilst referencing from a copy of the storyboard I drew. I also helped operate the camera in some shots when Jacob had to go act. I discussed various shots and angles that we could also additionally shoot at with Jacob whilst reviewing the footage at the end of every take, as well as organising food and breaks for the crew throughout the day acting as a sort of runner.

Post Production Composition and Editing

During the post-production stage, I was given the role of overseeing the overall editing in addition to editing the audio and graphics. Michael, who was in charge of picking out the music, paired up with me to find appropriate soundtracks to go in with our trailer, with Michael passing the final judgement on two tracks to then have me edit in. We created several drafts and rush edits, asking opinions from peers about what we could improve on.

I was also in charge of the ADR dubbing, and brought in my RODE NT USB Studio microphone to record some dialogue with Michael and Daniel. I then edited the audio, removing background noise and adjusting the levels before exporting it as an mp3 to edit into Premier Pro. I also managed the foley and additional sound effects which were mixed and adjusted straight into Premier to fit with the footage and cuts.

The various trailer graphics such as the title cards and production studio logos were also edited and produced by me. Drew came up with a rough design for the Nocturnal Cinema logo and was then recreated and polished by me in Illustrator before importing it into Premier.

Rendering and Upload

Once we were almost ready to render out our final trailer, I went in and fine tuned everything, adding in changes according to the feedback we received from out peers. I added more sound effects and adjusted the cuts and timing a little before rendering the final composition.

After double checking for the correct aspect ratio and resolution, I then uploaded the final outcome onto YouTube and messaged my group the link for them to see.

Management

Throughout this group project, I have helped set up and organise various schedules and messaging groups through social media to keep in touch with everyone whilst I was working. I made a Facebook group for the event to provide crucial information and resources to the crew, as well as organising and managing a Skype group for those who didn’t have Facebook such as Michael.

Every time I uploaded something onto the group DropBox, I would inform my group and update them on my progress as well as ask them about theirs and discuss things. I was also in charge of organising the final group project folder.

Noir Film Trailer Analysis – The Third Man

Editing, Film, Film Studies, Film Trailer, Neo Noir, Research, U66, U_5

The Third Man is regarded as one of the many classics of Film Noir. It was directed by Carol Reed and written by Graham Greene and stars Joseph Cotton, Alida Valli, Trevor Howard and Orson Welles. The music score was composed by Anton Karas and the cinematography was done by Robert Krasker. Originally release on August 31st, 1949, the film was noted for it’s murder mystery and pained romance riddled with suspense, as well as it’s iconic Noir cinematography of Vienna.

The original trailer was very much styled to it’s time. The early 1950s way of film and television is highly contrasting to today’s way of presentation. For starters, the use of explicit narration in the form of both voice (the narrator) and text (the taglines) are consistent throughout the original trailer. This was common with many films at the time, as it gave the viewer immediate context and information on the film and helped bring attention to the characters. The trailer’s syntax and layout is also vastly different from today’s modern form. The title of the film is introduced at the start, as well as some big names and credits. It’s a more orderly and traditional style of arrangement that’s takes the viewer on quite a chronological walkthrough for most of the first half. Later on, the trailer begins to cut more frequently and the order of storytelling is shifted around a lot more in order to build up excitement and curiosity in the viewer, much like today’s film trailers.

The trailer’s audio is also consistent throughout. There is only one track used, almost as if to try and set the tone for the film. The suitability of the track is up to debate – on the one hand, it’s relatively charming and decadent arrangement may seem fitting for the time it was being shown in, but perhaps not truly reflective of the film’s more dark moods and tone thus could be believed to be unfitting or misleading. On the other hand, it could be seen as purposefully misleading and contrasting to the darker side in favour of the charm and charisma that the leads carry.

Many graphics are used in the 1949 film trailer and at times, it almost seem to become dependent on them in capturing the style and aesthetic of the feature to the audience. The iconic ‘Third Man’ graphic is used at the beginning of the trailer as well as at the end of the trailer where it’s animated in. The heavy use of graphics compared to today’s films is definitely influenced by the fashion of trailers at the time – notably so. The tagline text are also placed under a what seems to be a mandolin graphic, quite fitting for the film’s setting and a very 1950s thing to do.

The Third Man also recently had a 4K restoration adaptation of it – and there’s a new trailer too that has been released in 2015. What’s fascinating, is the stark contrast in presentation compared to it’s 1949 predecessor. Baring in mind that the trailer itself is aware that it’s a restoration of a classic Noir film, the way it displays itself has clearly been altered to appeal to a more present-day audience. For starters, the trailer has taken out many of the old characteristics of ’50s trailers to replace with more current trends.

There is no voice-over narrator giving exposition. Instead, the trailer just relies on the audio directly from the film footage. The only separate narration that is present is through some very short, sans-serif text in white that is either against a plain black background, or skewed at a perspective to match the shot that’s showing almost as a sort of homage to the Noir cinematography.

There are many reasons why the editors have opted for this kind of approach. The 2015 style of trailers have long evolved from the 1950s – everything has become much more minimalist and compressed in favour of subtly. Times and tastes have changed vastly, and the urge for simplicity and shortness has been cultivated from life’s much faster pacing. People demand more saturated content and consider decorations in things like extra graphics and long narration to be dawdling and off-putting. Hence why the new trailer has cut-down the timing on things like credits and on-screen text to only brief appearances. It allows more focus on the film itself and doesn’t come across as a potential waste of time in the audience’s mind.

The cuts and edits of the film’s narrative is more extreme too. Again, in favour of enthralling the audience into a guessing game of what the film’s story exactly is, keeping them on their toes throughout. The title of the film is shown at the end rather than the beginning as a sort of finale reveal as to which film it is. Although, hiding this information could also be because the viewers are expected to know what Film Noir it is just from the footage at the start too.

The audio is also wildly reduced to almost nothing but occasional cues at the beginning as a way of leading the viewers in. The lack of audio makes the viewers question more on what it is they’re seeing until the familiar track of the original 1949 trailer comes back for it’s reprise.

Neo-Noir Film Trailer: Visual Development

design, Digital Art, Editing, Film, Film Studies, Film Trailer, Neo Noir, U66

This post will be updated with conceptual art and various visual designs such as costumes and storyboards for my group’s upcoming Neo-Noir film trailer.