Burning Midnight began as a poem, a literary contribution to the Cyberpunk style—nevertheless it grew to become far more. The phrases impressed a gaggle of us to band collectively to accompany the textual content with movement. The objective was to craft the piece solely in CG, an train that we hoped would enhance our talent units within the realm of photo-reality. Though our first makes an attempt garnered us an “A” for effort, we achieved lower than passable outcomes. The 3D characters simply didn’t evoke the emotional response to match the poetic verse. So we rapidly switched gears, known as in favors, and threw collectively a scrappy, inexperienced display shoot to seize our foremost characters in live-action. With the footage in hand, we re-edited the piece utilizing a combination of 3D scenes and roughly-keyed footage till we had our ultimate visible narrative. After a prolonged compositing section, we finally achieved a deliverable that we felt was worthy to undergo movie festivals. Though the making of Burning Midnight (executed outdoors of our day jobs) was an extended and tiresome course of, we’re in the end pleased with what we’ve completed. It has solely given us the will to make one other movie, and one other, and one other…
The objective was to craft the piece solely in CG, an train that we hoped would enhance our talent units within the realm of photo-reality.
Although it is a science fiction setting, Burning Midnight at its core is a love story. Set within the distant future, our movie is a couple of sensible however lonely man who creates a synthetic intelligence and designs it with one objective; to like him. Shortly after the Ai comes on-line, the person dies tragically in a bike accident, abandoning his clever and immortal creation in his condominium. She is left to endlessly query what it means to exist when the topic of her solely objective is abruptly taken from her. Built to like, she now wonders what it’s she is meant to like along with her creator useless. During the crash sequence, the person dissolves into metaphorical particles after which reappears by the projector within the condominium symbolizing that he exists now solely as a figment of her reminiscence the place they dwell collectively in an everlasting digital paradise. This story went by many iterations and the script constantly modified all all through the manufacturing course of. One instance is initially the person simply died and we see his damaged physique left on the moist pavement, however we felt it was unclear as to why he would re-appear on the finish after dying, so we revised the script to incorporate a transitional loss of life scene the place he dissolves into particles. At one level we even toyed with the concept of getting the Ai be the one who causes his loss of life by overriding the controls of his bike to be able to digitally seize his soul inside her software program in order that she could be with him and love him without end.
One of the important thing characters in our movie is an Ai hologram portrayed by actress Abigail Bittle, who’s projected into the condominium by a wall-mounted projection gadget. At the tip of the movie, there is a shot that takes us inside the projector and exposes the interior mechanisms. We wanted a great way to painting this and went by many iterations of what that might appear to be. This ended up being one of the time consuming and tough photographs of the entire movie. Initially we explored having a bodily mechanical face inside the machine to make it clear that this projector is an clever being, then we explored extra summary ‘holographic information UI’ instructions and holographic faces till lastly we settled on a futuristic trying lens after deciding that we do not really want a illustration of a face contained in the machine to make it clear our Ai is projected from this gadget.
Signs & Holograms
No cyberpunk metropolis is full with out a few photographs of a megacity full of glowing neon indicators and holograms in many alternative languages. Some of the indicators we used had been from kitbash kits, nevertheless that wasn’t sufficient to replenish a whole metropolis. That meant we needed to spend a substantial amount of time designing, animating and putting lots of of indicators into our metropolis photographs to make it really feel alive. Many of those indicators had been created and animated as totally 3D parts, some had been created as 2D animated sequences that had been then tracked into our photographs in publish. We wished to seize the sensation of a Neo Tokyo metropolis far sooner or later that may be a melting pot of all cultures, however largely influenced by its Japanese and English talking residents. We have indicators in Arabic all the best way to Xhosa and plenty of in between. Google translate was very useful within the creation of this. Below are only a few of the numerous indicators we designed.
- Director: David Viau
- Executive Producer: Brian Loehr
- CG Artists: Ian Frederick, Austin Hochstatter, Justin Reed, Ryan Eastham, Alex Noelke, Casey Doherty, David Viau
- Compositor: Paul Barkshire
- End Credit Sequence: Andrew Nam
- Story Development: David Viau, Ian Frederick, Mike Morris, Austin Hochstatter, Justin Reed
- Editor: Ethan Erickson
- Producers: Annie Engelker, Leslie De Lorenzo
- Narration: Tamara Fritz
- Actors: Jayson Hicks, Abigail Bittle
- Director of Photography: Chris Towey
- Assistant Camera: Coty James
- Gaffer: Dennis Holyfield
- Grip: Trevor Payne
- Hair & Makeup: Jennifer Popochock
- Costume Designer: Kristen Bonnalie
- VFX Supervisor: Mike Morris
- Colorist: Kevin Adams
- DIT: Maurice Morales
- Audio: Hearby Sound
- Original Score: Alex Kopp
- Special Thanks: John Buroker, Nannette Buroker, Ayako High, Keiko Nakayama, Keisha Harris