Module Reflection- I&DV

This module has been a tricky one for me as it is there were times when I really struggled and times when I felt more comfortable with modelling.

For Floating City I was very unsure about modelling, especially with the more organic bone structure we created. Looking back, I probably should have looked at z-brush to create a more bone look to the world- to create one closer to our designs. We also were very rushed in this project, due to the intense New Narrative’s Vogler project running at the same time (worth the same amount of points). I found the research in this project very interesting and glad it was changed to Rome, rather than Belfast. It allowed for a bit more cultural understanding and a totally different outlook on which things would influence the world itself (the culture, architecture, religion etc). This project allowed for us to go a bit insane too, allowing for me to introduce some of my own science research into the creation of energy in the body and how this could be applied in our world itself. If I was to go back and redo this project I would familiarise myself with lighting a bit better as the final outcome was definitely not what was anticipated in how it was show to the audience.

The head model, for me, was very enjoyable and something I would definitely try again, with other people as references, to see how different face shapes effect the topology and the skin folds. It taught me a lot of simple modelling techniques and how in animation a lot of the topology is created with science in mind- in this case, following the facial muscles. I found it a lot to match my face with the correct topology that create the floating city, which is strange as one is a lot more complicated. I found the research for this model very interesting as well- looking into some of the face models with such high detail and good shape with very little topology or being low poly. I tried to follow this in my own face. Modelling the head also allowed me to have a bit more confidence in the modelling itself. Areas like the neck where my tutorials did not cover I found myself having to improvise and create my own model based on several topology flows I had found online.



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).


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- Refilming World

From the feedback for our world, it was mentioned that we had no representation of scale. We decided it would be best to re-film our world to make it look a lot more believable.

I also mentioned the idea of adding lighting to make it look more light a light-house effect. This  effect would look amazing, especially as the world turned towards the camera, momentarily blinding the viewer. This technique has been used in several movies before;

The Lovely Bones.

The Lonely Bones lighthouse scene. (The Lonely Bones, 2009).

I love the progression in lighting from the lighthouse to the street light is incredible. The blinding light changing the scene from the previous to this one.

The Great Gatsby. 

The beginning and end scenes from The Great Gatsby. (The Great Gatsby, 2013).

Another movie I have a soft spot for. The cyclical structure of the green light, a symbol for Daisy. The opening lighting scene, though from far away, gives an amazing atmospheric feel, giving the idea of importance in the light.

I love the opening book scene- could this be something we could experiment with? Maybe the project name on a classified file blending into our own scene.

Hot Fuzz.

The lighting cues from Hot Fuzz. (Hot Fuzz, 2007).

Another reference, prominent on my blog, is the Hot Fuzz movie. The lighting cue as the spotlight reflects on the nerd’s glasses is reminiscent of a Police spotlight.

This would look quite nice in our own project- I had previously mentioned the use of the a search light, possibly looking at the destroyed world below.

A brief sketch idea (at Ryan Beatty’s request). 



The Lovely Bones (2009). Directed by Peter Jackson [FILM] USA: Orion Pictures.

Hot Fuzz (2007). Directed by Edgar Wright and Simon Pegg [FILM] USA : Studio Canal.

The Great Gatsby (2013). Directed by Laz Luhrmann [FILM] USA: Warner Bros. Pictures

Research- Filming Our World

I wanted to have a look further into how some of the low angle and close up shots are applied to give a better feel of size to the world.

Space Odyssey.(YouTube, 2016).

Yuan showed us this trailer for Space Odyssey to look into the different feels and viewpoints of space film- looking at the sub genres that exist within the genre of ‘Sci Fi.’ The shot showing the space ship rotating is the part I wanted to look at closely- the ship fills the whole screen, the slow rotating emphasising the size of the world itself.

This Universal opening sequence was another that I looked at. (YouTube, 2016). 

The Earth itself starts as a zoom in from the top, panning down and then out, with the rotation of the Earth itself. I thought this would be something we could look into for our own world, given the way our concept rotates.

The Wall-E opening sequence.(YouTube, 2016).

Pixar’s Wall-E implies a different method to show the size of the world, or at least portray this into the audiences mind. It shows the solar system at the start, to give a familiar viewpoint to the audience and to also show that our own Earth is the setting, and not a fictional planet. The zoom into the planet is the reverse of that in Space Odyssey, it is fast, showing the debris of satellites around the world, emphasing how polluted it is.

The Space Incident from Gravity. (YouTube, 2016).

Although not specifically focusing on the planet, I love how the comparison of size of the Astronaut to the satellite as it is destroyed. The characters look like tiny plastic dolls against the debris flying among them. It gives the feel of the omniscience as they astronauts are helpless against what is unfolding around them.

Hitchhiker’s Guide to the Galaxy- Planet factory scene. (Vimeo, 2014).

This is another scene I thought really helped with showing the perspective of the world- through the application of other props/ items of known size (like people themselves). The entrance into the factory at 3.40 mins shows this perfectly as the characters enter the factory, growing smaller as they move closer to the planet in front.


I showed the other members of our team these references and we agreed that the visualizations used in the Space Odyssey trailer would work best with our world.



YouTube. (2016). Wall-E Opening Scene. [online] Available at: [Accessed 24 Mar. 2016].

YouTube. (2016). Universal Pictures – Intro|Logo: New Version (2013) | HD. [online] Available at: [Accessed 24 Mar. 2016].

YouTube. (2016). “Gravity” continuous shot. Opening Scene. Space debris hits Explorer. [online]

Vimeo. (2014). Hitchhiker’s Guide to the Galaxy – Planet Factory Floor. [online] Available at: [Accessed 24 Mar. 2016].Available at: [Accessed 24 Mar. 2016].


Research- Camera Angles

When filming our world to show to the class, we realised that we wanted to make it look large and mysterious. To create this, we realised we would need to look into other camera angles and methods to do so.

Low angle in film gives the look of an object or subject appearing larger than what they truly are. It adds height to actors (such as James McAvoy and Tom Cruise) and gives a feel of speed in motion. It is used to disorientate the viewer- making them feel powerless to the object before them. It gives the feel of power and ominous to the item the person is viewing, like a child looking up at an adult. (Moura, Deaver and Moura, 2014).

This techique has been applied many a time in film itself.

Intimidating Nurse- Scrubs.(YouTube, 2016).

Yuan showed this example to us in a lecture in class. Even in comedy this angle is applied rather well. As Carla takes her anger out on the delivery man in front of her he gets smaller, as the camera angle gets higher. Carla, however, gets larger, as she tells him off more, reminiscent of a parent telling off a child. 

Death Sentence starring Kevin Bacon. The low shot in this is used to emphasise the character confusion in the scene, the panic and superstition high as the siren sounds behind him. (YouTube, 2016).

Skip to 3.07minutes to see the low angle example. (YouTube, 2016).

This clip taken is very similar to that of the Inglorious Basterds one (below) . It puts the viewer as the person in the trunk- confused as they daylight spills onto them, after a presumably bumpy ride.

Citizen Kane clip. (YouTube, 2016).

The low angle in this scene is used in a more intimate way- not through a POV. It shows the serious tone to the conversation the characters are having.

Inglorious Bastards- Head Carving Scene. (YouTube, 2016). This is one of my favourite movies and this is also one of my favourite scenes. The low angle is applied at the end of this clip- when both Donowitz and Raine are carving the Nazi soldiers head. Tarentino has put us into the POV of the soldier themselves, looking up helpless to the men above. It gives such a feeling of weakness as we are defenceless like the soldier. 


Moura, G., Deaver, J. and Moura, G. (2014). CAMERA ANGLES: the Art of Manipulation. [online] Available at: [Accessed 24 Mar. 2016].

YouTube. (2016). Use of high and low angle shots in “Scrubs”. [online] Available at: [Accessed 24 Mar. 2016].

YouTube. (2016). Death Sentence – Leave building – LOW ANGLE – OBLIQUE. [online] Available at: [Accessed 24 Mar. 2016].

YouTube. (2016). Top 20 Amazing Cinematic Techniques Part 1.. [online] Available at: [Accessed 24 Mar. 2016].

YouTube. (2016). Citizen Kane – Low-Angle Discussion. [online] Available at: [Accessed 24 Mar. 2016].

YouTube. (2016). Inglourious Basterds – German Traitor Scene – Full HD. [online] Available at: [Accessed 24 Mar. 2016].