Update: PR, Audio, Graphic Novel, VFX, Stuff
Jul 2008 03

I am very pleased to announce the following:

Ken Jager has joined the team to help out with PR. Ken is an experienced and award winning writer and will help us prepare bios of principal cast, identify key selling messages, prepare Q&A sheets, and field press inquiries.

Dan Andrews (new to the team and working from California) and Ed Walker have started work on post-production audio. They are just now scrubbing and laying in dialogue tracks against the “as-recorded” script. Thanks to Heather Canik for updating the script file and to Jennifer Forbes for adding the selected scene and take notes to it from the edit timeline.

Branson Anderson has launched work on the Project London graphic novel and have already made significant progress. We plan to post weekly updates.

Ian Hubert and the Animation and Visual Effects Team are re-organizing and re-energizing their efforts to plan their work and work their plan.

Your intrepid producers have started work on pre-release activities and marketing plans. Our current goal is to finish the film at the end of October (done) so we can release it in February (done done). As always, your ideas and suggestions are welcome.

Cheers,

Phil McCoy, Executive Producer
on behalf of Nathan McCoy (left), Producer and Phil McCoy (right)

Interview: Jen Forbes
Jul 2008 08

What is your name?
There are several names I’ve been known to go by but my preferred credit is J.A. Forbes.

How old are you and why?
Time is relative, be more specific.

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BlenderNation Embraces Project London Clip
Jul 2008 08

BlenderNation, the web site for Blender users everywhere recently picked up the Project London clip posted on Vimeo to attract 3D artists to our project. You should go to their page, scroll down and see the amazing number of positive comments people have posted. It’s really cool. Seriously cool.

The Ian Report #413
Jul 2008 11

So this week was reasonably productive. Working on Jen Forbe’s project took up quite a bit of time. She’s doing some rad stuff, though.

Some interesting tidbits of info; There are approximately 312 shots left with some sort of visual post production tweak required, with 130 of those requiring some sort of 3D visual effects work. It sounds like more than it is, since sometimes we go to the same angle several times, and I can use the same visual effects element for that same angle repeatedly.

I feel like I’m organizing a closet right now; you gotta make a mess before you can put everything back away. Overall, I’m excited about what this next week holds in store!

Ian Hubert
Writer Director

Post-Production Audio: Update #2
Jul 2008 18

Our first dialogue tracks have been scrubbed and laid into the edit timeline and believe me, they sound good. Ed and Daniel have built a workflow that is organized and efficient. However, we have discovered some tracks that will need ADR. In particular, there is a scene featuring Shannon and Nebraska walking and talking in a hospital hallway and the ambient sound just isn’t low enough to hear the dialague clearly. Kelly McCoy (Shannon) is leaving for Costa Rica soon; she’ll be gone for five months. So, we’re going to quickly process all her scenes and try to get her ADR done before she flies out.

Many thanks to Andrew Bellware for sharing valuable advice and wisdom with us.

Cheers,

Phil McCoy, Executive Producer
on behalf of Nathan McCoy (left), Producer and Phil McCoy (right)

The Ian Report #414
Jul 2008 18

It’s been a long week for me. Lots of trying to figure out exactly how to organize the information of what we need to get this coming Wednesday, when we do pickup shoots from a helicopter! Fortunately we just really need shots of Seattle from the air and land, but the varying times of day pose some difficulties. I am working on a master shot list that covers all of the still images we need to get, and one that covers all of the footage we need to get. I’m currently working through each item to make sure it’s easy to understand and communicate to Barry and the pilot.

I’ve also been talking a lot with some exciting new CG folks who are interested in working with us. I’m pleased to announce that Mike Belanger has joined the team to help with rigging and animation. Stay tuned for more announcements. I’m very hyped about what this means for the future of the film- the people we are talking to and who are joining the project have some great reels.

Here’s hopin’ Wednesday goes like a dream!

Ian Hubert
Writer Director

Interview: Justin Tracy
Jul 2008 22

photography by Marc Studer

How old are you and why?
25, because I wanted to be 18 at the turn of the millennium.

What got you started in film work?
Back when I was in high school we used to run around in the woods and improvise these most excellent comedy films. Some of my best work.

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Interview: Henry Mark
Jul 2008 23

What is your name?
Henry Mark

How old are you and why?
I’m an infant in Nalardian years.

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Pickup Shoot Day
Jul 2008 24

Wednesday was a pretty amazing day. Phil McCoy, Jen Forbes, Barry Gregg and I all met at WorldWind Helicopter, Inc. to get the final bits of footage required for the film to be complete!

We grabbed several hours of footage from the helicopter during all times of day—the overcast morning, the clear evening, the sun setting, and dusk. We followed a flight plan that we completed in a quarter of the time expected, so we had tons of time to fly around and get any amazing shots we could think of—flying over Harbor Island, grabbing shots of ships under construction, flying over the city to the water’s edge, the skylight sillhouette behind a setting sun on the horizon, falling towards the earth at 2,500 feet per minute—everything we could think of.

Vince, our pilot, was phenomenal. With more than 4,000 hours of flying under his belt I (who have this thing about heights) never once felt nervous, despite having no door on my side to better take high-res still photos, and no shoulder straps so I could lean out of the helicopter to better take aforementioned photos. He was able to transform my mumbled thoughts and ideas into actual physical motion across skies from Renton to Kenmore, Seattle to Bellevue. Vince was epic—I hope to fly with him again some time!

Barry Gregg controlled the camera, which has stabilized by a mount from Oppenheimer Camera, in the back of the helicopter. He, too, had no door, but due to the aerodynamics of the helicopter the wind went STRAIGHT into his face, giving him a massive blast of cold air the whole time we were in the air. He filmed some incredible angles, capturing trains passing below, ferries docking, and pulling up after a sharp dive. I can’t wait to look over all the hours of footage.

Phil McCoy pulled out all the stops to ensure we got the best possible aerial footage—and it was totally worth it. Seeing the movie with some of these shots included—and combined with the fantastic CG imagery we’re going to be comping in—will really add a huge notch of realism and total awesomeness into the movie.

Not that it needs realism—I mean… this film is a documentary, isn’t it?

I’m going to be doing a 3d Motion Track at the earliest possible opportunity, seeing how easy it will be for us to add in our own buildings and stuff into the footage-

It should be a fun ride!

Ian Hubert
Writer Director

Interview: Daniel Andrews
Jul 2008 29

How old are you and why?
In the recent past, one quarter of a century old.

What got you started in film work?
I’ve always been into sound, but in 2001, Paul Spooner and I entered a short-film contest called Teen Digital (and won!). That was sort of the inspirational “starting point” for film work, and since then, I’ve done sound and music for a few other movie/film projects for fun and sharpening of skills.

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