by - 2012/02/20 22 Comments Artwork, Production

David and Ian sotryboarding

David (arrived saturday!) surprised us this morning with a complete storyboard of the first three scenes. It’s A_M_A_Z_I_N_G! Here you see Ian and David going over the shots. It’s so much fun :)

The script in its core (premise) is still the same, but it has been condensed to be more centered on events in future Amsterdam; removing the scene in space with a battle fleet. More you won’t hear from me now :) This week David and Ian get full freedom – just make it awesome! Next week we’ll get real and will start planning.


Ian Hubert arrived in Amsterdam

by - 2012/02/17 12 Comments Directing & writing, Production

Just a quick post! today Ian arrived safely from Seattle. I have installed him in his (awesome!) apartment now , where he probably collapsed in bed to recover from jetlag. Tomorrow evening David Revoy arrives, and then we have two weeks to get story and storyboards final :-)

Shading tests – Dirtmaps

by - 2012/02/08 26 Comments Artwork

With the production start of project Mango getting close it’s a good idea to test your own workflow a bit … because when instead you’re swamped with tons of work you can’t spend time thinking how to make things smarter and faster. So I tried to put together some questions and topics that always bothered me when I do environment models and shaders. Nothing amazing or innovative, but hopefully good for speeding up work, here’s what I came up with:

You got to love a carefully painted custom texture map, with all those subtle (or strong) weathering effects placed in the right spots just for that object.

Only issue: painting textures takes a lot of time! :)

Speaking of environments, that’s a real issue: your environment is often made of tons of different pieces, all quite detailed as models but not that important by themselves to afford the time for accurate custom painting. In my experience, in arch.viz. you only can afford tileable textures and no custom painting, in games you have to custom paint, and in movies you ‘simply’ need the best quality and realism…

Still, in any case it could be handy to have some kind of automation to get some weathering effects (based on the shape of the object) without custom painting, and keeping the unwrap phase reasonably fast. ‘Automation’ for this stuff won’t help quality much, but speeds things up. So it’s good for minor objects or as a base for important ‘hero’ pieces.


That’s the idea behind the tests below, dealing with: batch-bake of AO/dirtmaps, unwrapping multiple objects together, node shaders (cycles in particular)


Camalot sponsors Red Epic for Mango!

by - 2012/02/07 35 Comments Production

Camalot AV Facilties is Netherland’s most renowned digital film camera rental and servicing business. One of the owners – Philippe Vié – today confirmed we’ll get their full support for equipment and services. Having worked with our Director of Photography Joris Kerbosch before, they’re confident we’ll make a good use of their Red Epic cameras :) (same camera as being used by Peter Jackson for the Hobbit, delivers 5k)!

Thanks guys, this helps us tremendously!