Camera Angle/Lighting For Ryan

Ryan was the one responsible for the camera in our world, we roughly sketched how we wanted to world to look when rendered to show for size. We agreed with Conánn’s advice and wanted to use objects of a known size, put in our frame, to re iterate the size of our world.

new light_test1 _rim light

I can’t draw light and this was a really quick paint to show what I meant to Ryan. I really was inspired by the framing of the ship by Kubrick in 2001 Space Odyssey (1968). We want the camera to remain in place, however, have the planet move upward, creating a halo of light on the destroyed Earth (the giant grey blob at the bottom of the shot).



Rendering Scene One- Camera Fail

c4jt321This sums up the current feeling in our team. (Imgur, 2016).

I swear rendering hates us. When we rendered the final take for scene one (the intro pan) the camera had key framed in random places.

We literally had play blasted the scene right before rendering- I have no idea.  It was an easy fix though and thankfully more computers had become available for rendering- so instead of 8 hours of rendering on one, it was split by 5 computers.

Our acid tripped camera.



Imgur. (2016). This is fine. [online] Available at: [Accessed 10 May 2016].

Scene 4-Electrocution Of the Lumo

Going off of the feedback from our previous presentation, Conánn had said that a real old school comedic zap would look best- to emphasise she was getting shocked while unscrewing the bulb. We decided three things we wanted to include into the scene overall. On a more cinematic note- it kind of reminded me of the death by electric chair scenes from The Green Mile (1999).

A disturbing execution- death of Eduard Delacroix. The Green Mile (1999).

The death of the innocent. The Green Mile (1999).

  1. The shaking of the hand, as scene in many cartoons- over exaggeration is key here.

Electroshock Therapy in the Simpson. (YouTube, 2016).

In this scene you can see the wavy like lines for the characters shape, expressing more movement than is just being done by the character. 


Electrocution character test. (YouTube, 2016)

Although this character has more of a puppet feel and look to it, I think it shows the kind of uncontrollable movement that we can use in our own character.

2. The appearance of a skeleton

Ursula’s Death. (YouTube, 2016).

We would take the animation of the hand and have the skeleton follow the motion path and move accordingly, like in the scenes above. We would probably either have to black out the hand or darken it to create a similar look to that above.

3. Electrical current flowing through the hand (or some sort of lightning ‘zaps’ stemming from the hand down the arm .

Family Guy crow explosion. (YouTube, 2016).

This animation is a metaphor of how we all feel about the project now. Kind of.

Leon the Lion- Lightening Shock. (YouTube, 2016).

Thankfully, a lot, or nearly all, can be done in After Effects to cut on render time and messing about with unknown elements in Maya.

If you want to have a laugh while marking please watch this informative safety video. (YouTube, 2016).


YouTube. (2016). The Little Mermaid – Ursula’s Final Fight (1989). [online] Available at: [Accessed 6 May 2016].

YouTube. (2016). The Simpsons S1E4 Shock Therapy. [online] Available at: [Accessed 6 May 2016].

YouTube. (2016). Electric shock animation loop. [online] Available at: [Accessed 6 May 2016].YouTube. (2016).

Cartoon Crow Electrocution. [online] Available at: [Accessed 6 May 2016].

YouTube. (2016). Leon The Lion-Electroshock. [online] Available at: [Accessed 6 May 2016].

YouTube. (2016). Electrical Work Safety Awareness Training. [online] Available at: [Accessed 10 May 2016].


Our First Presentation

So, our first presentation for the city project went pretty well, however, Ryan, Eoin and I agreed that there were a few things we could change for our hand it.

Conánn said that our scale was off i.e.we did nothing to show the actual size of the world. He drew the following image to help us picture how we could demonstrate its size. He suggested that we place objects of familiar sizing, such as other planets, around the floating city.


Conánn’s diagram to help explain things further.

We will do some more research in hope to improve when we film the world.

Our city. Yeah it’s a little bit dodgy.

Research-Stanley Kubrick

We came to realise that any movie we looked into featured Stanley Kubrick, and we came to realise a lot of his devices used are replicated throughout all of his movies (see below for an example of the One- Point Perspective).

This documentary really helped introduce me to Kubrick’s work. (YouTube, 2016).

Another documentary I watched. (YouTube, 2016).

Cassie’s introduction to cinematography and what it actually implies really helped me in this module. Getting to understand the lighting and framing of shots is something I will have to work on and will be something I will one day, hopefully master, the more I appreciate it.

One Point Perspective

This technique is defined as “…a mathematical system for representing three-dimensional objects and space on a two-dimensional surface by means of intersecting lines that are drawn vertically and horizontally and that radiate from one point on a horizon line…” (Robinson, 2016). This complicated jargon literally means that the as objects get further away in a frame, they appear to get smaller, converging to a vanishing point on the horizon line. The method is usually implied when the camera is front on. 


One point perspective can be seen in the image below- following a map. (, 2016).

In Kubrick’s work, the symmetrical look to the frame can be taken in both a humorous

One Point Perspective- comparing all of Kuberick’s movies. (Vimeo, 2012). 

When considering the pan, as suggested from our feedback on animatic 2, we realised that we have two different options.

Either have the camera run between the two rows of beds, as if a person is walking between them or having a camera run at an angle from the wall. Kubrick’s OPP applies in both of these. Below is the test pan that we included in our animation. We went with it, despite having doubts. The pan is quite hard to capture a lot of movement, as the character is not the main focus as the camera is still moving. I found that the camera and motion need to be in the same direction of the movement.

For this scene we had tried looked into the bed scenes in Full Metal Jacket (1987).

This is my Rifle. (Full Metal Jacket).

One point perspective is obvious in many of the marching scenes. (Full Metal Jacket).

Our original pan.

2016-05-10 (7).png

One point perspective -in the scene. I think for this to work well the camera needs to be lower to the ground.


Kurbick’s use of zooms is evident in many of his movies, however the Shining and Full Metal Jacket are the ones that have had the most cinematic success and appreciation. In Full Metal Jacketv the zooms are used often to show the characters reaction to a scene before conveying what is actually going on around them. For example, the trench scene shows the face of PVT. Joker Davis, his horror evident. It then zooms out to show the trenches, filled with the dead bodies of the women covered in white powder.

In The Shining, however, these zooms are used to give a griping sense of claustrophobia to the setting. This camera movement, at quite a slow pace, is not one you would see in horror movies, Kubrick, however, pulls it off- giving a chilling sense as if someone is watching the character.

The zooms in Full Heavy Metal jacket (please mute the song is rather painful). (YouTube, 2016).

Zooms in the Shining. (Vimeo, 2012).

Our original zoom out for the final scene. Mike had told use that it wasn’t necessary so we removed it.

We had tried to replicate the style of camera zoom Kubrick uses in Heavy Metal Jacket, to show the character’s reaction before zooming out and showing the carnage of the room around them.

This was the final camera movement for the scene, once we applied Mike’s critic.


Vimeo. (2012). Kubrick // One-Point Perspective. [online] Available at: [Accessed 3 May 2016].

Robinson, A. (2016). One Point Perspective Drawing: The Ultimate Guide. [online] Student Art Guide. Available at: [Accessed 3 May 2016].

YouTube. (2016). The Art of Stanley Kubrick. [online] Available at: [Accessed 3 May 2016]. (2016). [online] Available at: [Accessed 3 May 2016].

Vimeo. (2012). The Shining – Zooms. [online] Available at: [Accessed 10 May 2016].

YouTube. (2016). Kubrick Zooms; Full Metal Jacket. [online] Available at: [Accessed 10 May 2016].

Research- Poster and Pose

When looking at the pose for the getting caught scene, we looked into a lot of different movies and other advertisements for inspiration. As mentioned earlier, we were  heavily inspired by Spaced (1999-2001) and Hot Fuzz (2007) for these elements.


Still from Spaced.


Still from Hot Fuzz.

Golem/  Sméagol

Golem played a huge inspiration from the start, ever since Cassie drew the below frame in her book.


Golem inspired drawings by Cassie.

We looked into a lot of the posing of Golem/  Sméagol in the Lord of the Rings movies.

From the innocent look of Sméagol to the more sinister of Golem, there is a great variety in poses from this character. Walking on all fours, Golem is the breakdown of  a once human character to that obsessed by the Ring. It was revealed that this character was influenced entirely by addiction, he is a symbol of man, corrupted by greed and self entitlement. We thought this was very relevant to our own character- her persistent nature to get this ‘necessity’ of the lightbulb, which proves to be her later downfall.

Horror Movie Posters

We looked into a lot of old school horror movie posters as many of these showed the character but in full body pose, to give the audience an idea of what they were in for. Nothing was really hidden or kept as unseen- they needed to entice audiences to this new genre of movie, the title ‘Horror’ not being made official until the 1930s. Universal Pictures (known as Universal Studios nowadays) was the forefront in horror movies, their first highly acclaimed movie being s Dracula (1931), directed by Tod Browning. James Whale then followed with Frankenstein (1931) with the help of Boris Karloff. Karl Freund followed with The Mummy (1932), then James Whale with the Invisible Man (1933), Stuart Walker’s Werewolf in London (1935) and Hambert Hillyer’s Dracula’s Daughter (1936). Information acquired here.

Movie posters were a huge part of advertising around this time as many people did not own a television. Any advertising they saw would have been public- on bus shelters, plastered on walls. In the 1930s, Posters tended to favour bold fonts, with large images of the main character’s face placed over scenes from the movie (see the Frankenstein poster below). In the 1940s, however, posters had less of the scene depiction and the typography was less harsh, not as garish as the previous years.

We noted a lot of the posing of the characters in these posters had extended limbs, their wide stretch fingers/hand giving the true intention and manic behind their mind set. We decided to play with this in our own work- as shown when we took the photos.


Frankenstein (1931).


The Wolf Man (1941).


Frankenstein Meets the Wolf Man (1943).

poster_-_frankenstein_02Frankenstein (1943).


Dracula (1931).


I Married A Monster From Outer Space (1958).

Screen Shot 2016-05-02 at 22.07.49.png

Creature From The Black Lagoon (1954).