Sunday, October 25, 2020 Bookmark and Share

Shot Sheet for Cinema video

Shot 1 – Christmas Carol – Two overweight men approach Scrooge for a donation. I took over the cloth rig for the large man in front from another artist and tweaked it. I then did much of the shot work on this character including this shot.

 Shot 2 – Christmas Carol – Scrooge locks the door. I did several shots of Scrooge based on the cloth Rig created by another artist.

 Shot 3 – Christmas Carol – Marley spins Scrooge around in a chair. I simmed the cloth on this shot for Scrooge achieving a nice lift on the robe as it spins.

 Shot 4 – Christmas Carol - The Ghost of Christmas Past dances in front of Scrooge. I created the cloth rig for this character and simulated the candle robe for many shots. In this shot the director wanted a cloth movement that was ethereal and not quite physically real, so I simulate the candle robe with a slower underwater type of movement.

 Shot 5 – Christmas Carol – A wagon trots by the camera full of school children with a holiday sign hanging from the side. I designed the cloth rig for the Bell Boy which was used as the basis for several young men in the film. In the case of this shot I simulated the cloth on four of the characters in the back of the wagon as well as the hanging sign.

 Shot 6 – Christmas Carol – Scrooge runs down an alley while in miniature form. I simulated this shot of him running and jumping from stone to stone.

 Shot 7 – Christmas Carol – The Ghost of Christmas Future sweeps his arm down to point to the gravestone. I created the cloth rig for the Ghost of Christmas Future and did much of the shot work for him in the film. The challenge was the thin skeletal body for collisions. Once again the Director wanted the cloth to move in a other-worldly underwater fashion. All the shots were fully simulated even though for most of the film the character appears as a shadow or in heavily treated effects shots so it is difficult to judge the cloth simulation on its own merits. You can get a sense of it here.

 Shot 8 – Christmas Carol – The Ghost of Christmas Future appears at the mouth of the grave as Scrooge hangs in the grave by a root. The same comments apply here as Shot 7.

 Shot 9, 10, 11, 12 – Mars Needs Moms - I created the cloth rig for Moms sweatshirt outfit and Simulated her cloth as she lectures Milo about eating his broccoli.

 Shot 13– Mars Needs Moms – This is an example of Mom's cloth simulation interacting with the cloths basket she is carrying.

 Shot 14, 15, 16, 17, 18, 19 – Mars Needs Moms – Milo runs and stumbles in pursuit of his Mom. I tweaked the Milo cloth rig created by another artist and simulated this sequence of shots running and stumbling.

 Shot 20, 21, 22, 23, 24, 25, 26, 27, 28 and 29 – Mars Needs Moms – Milo attempts to run on the hanging bridge in Mars gravity. I simulated the shots of him jumping uncontrollably, falling, and stumbling.

 Shot 30 and 31 – I simulated Gribble in this two shots as he rolls out of the hammock and crawls to get a weight belt for Milo. The challenge here was all the hanging gear and pockets of his costume.

Shot 32 – Mars Needs Moms – Milo is caught and rescued from falling from a ledge. I simulated the Spacesuit ( a rig designed by another artist). The challenge was to cope with the interaction with another character and also with the ground.

 Shot 33– Mars Needs Moms – Milo stumbles while running to rescue his Mom. I simulated the cloth on this shot. The challenge was the speed of travel and tumbling on the ground.

 Shot 34– Mars Needs Moms – Milo realizes he is in trouble on a deep ledge. I simulated the cloth on this shot. The challenge was both the crouched position and the interaction with the helmet he is wearing.

 Shot 35– Mars Needs Moms – Gribble, Milo, and Ki prepare to swing on a cable harness. I simulated Milo's cloth. The challenge was the interaction with Ki's hand on Milo's hoodie.

 Shot 36 – Mars Needs Moms – The technicians at the Jet Propulsion Lab react to Ki's color patterns on their monitors. I created the cloth rig for the two types of technicians and simulated the cloth on the four characters in the center foreground of the shot as well as the one who walks on screen right.