user in­ter­face and mo­tion graph­ics can make a big dif­fer­ence in sci-fi. du­l­ull tells us how he and his team cre­ated them

3D Artist - - OUT OF THIS WORLD -

“With all the mo­tion graph­ics on The Be­yond we used Af­ter Ef­fects and there’s no magic be­hind it – it’s all key framed an­i­ma­tion,” Du­l­ull ex­plains. “As­sets like but­tons were first cre­ated by me sketch­ing them very crudely in a notepad. 2D artist Joseph Buchanan then used il­lus­tra­tor to in­ter­pret them into but­tons, fonts, alerts and in­ter­faces for me to use as a Kit in my comps. We were even able to have screens on set to show the user in­ter­face dur­ing film­ing, so it was all shot in cam­era.”

“there were a se­lec­tion of big spe­cial mo­tion graph­ics se­quences that were used to tell key mo­ments in the story and vi­su­alise the science and tech. these were all cre­ated in col­lab­o­ra­tion with my good friend JM Blay, who i first met when he was a fel­low teacher at Es­cape stu­dios while i was teach­ing a VFX pro­duc­tion course.”

Blay used Cine­ma4d and Af­ter Ef­fects, and he would col­lab­o­rate closely with haz by cre­at­ing pre­vis that haz would then edit off­line and send back to Blay. Blay cre­ated those se­quences as a sto­ry­teller rather than as just a mo­tion artist and that shows clearly in the se­quences that made it into the fi­nal fea­ture film.

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