SFX — Making it More Artistic

I think using this song will make our video much more artistic.

They’ve also got nice orange skies in that film, we should probably plagiarise those.

Or not…

Actually, I was thinking about different types of sound we could incorporate into the video, going from abstract noise and geiger-counter-esque things to something a little more cinematic, like Jim Thirlwell’s Manorexia project, which is apparently far too underground for YouTube to have any of the songs, but I’ll play them to relevant people at college when possible.

SFX — Location Hunting

Location scouting in central.

SFX — C4D Bokeh

Found out how to get the bokeh in a standard C4D render.

citykit

The render was only 20 minutes long, but most of that was GI, plus caustics, ambient occlusion and lens effects. Josh would be proud.

screen

Need to try some grading effects, but the colours can be tweaked directly in C4D itself.

/edit Night time.

citykit night

SFX — Fast Render

Just had the chance to test a 1080p render, only took 4 minutes, 24 seconds.

citykit

SFX — Music

Will was looking at making some soundtracks for the SFX video today, so on the way home from college, I was thinking of songs that could be appropriate for what we’re planning, bearing in mind the 30 second video limit.

This song immediately sprang to mind. You’d have to cut it to ensure it’s not too glitchy, but there are definite areas in the song that could work very well.

This song, around the 2:00 mark could also work quite well.

A very different style, but it could also work.

I think that establishing a sound to work with for the video is going to be a very important aspect. Sound massively influences the way we look at things, and is definitely something we need to be thinking about early on in the video process.

/edit

And one more. I like digging through my record collection.

Junglist Massive

SFX — Colour Grading in Collateral

I found this article pretty interesting, about how the film Collateral was shot, and then graded quite heavily.

Collateral Taxi

Interestingly, while films are still widely shot on 35mm film, Collateral seems to have primarily been shot on a digital camera, called a Viper.

I reckon that if we are to decide to do the shoot at night (and Citykit does look fucking beautiful using a night-time scene lighting) then grading the sequence similarly to Collateral could work beautifully, and we could do some nice bokeh effects with a tight depth of field in post-production. Now to find a good bokeh tutorial for C4D or AE…

Rather Good

A thesis on colour grading.