The Producer’s Report #48
Oct 2008 05

Ok. So last weekend a few of us sat down and watched Project London in its current form (screening #3). It was epic and fun and we received some useful feedback from the select group of invitees on the post-production team (locals).

We are looking for a talented producer to handle soundtrack chores. We are interviewing one candidate this week. Also related to audio, we welcome Sean Anderson to the team. Sean will be working to sync dialogue tracks to picture. Woot! Look for Sean’s interview next week.

Last but not least, Branson has completed work on our movie poster and it is truly epic. It is fantastic to have such an important piece of the project finished. You will see the artwork soon! In the meantime, while you are waiting, would you like to help us dream up a tagline for the poster? Ian thought of the tags listed below. What do you think?

This Movie Will Eat Your Planet!
Your Planet Looks Tasty
Oh No!

Please take a moment and post your thoughts and tagline suggestions.


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

The Ian Report #424
Oct 2008 06

At the most basic level, I generally break down the CG work being done on Project London into two parts; the 3D work and the compositing. Both are equally important and complicated. During the average week I usually see great progress in either one of the two areas. This last week showed great progress in both.

We had a showing of the movie Sunday evening (10/28) to a small test audience and got some great critiques and thoughts regarding the plot and flow of the movie. Most of this week was dedicated to addressing these comments in the film—constructing shots from various scattered elements to create entirely new shots, creatively adding titles or background elements, and adding emphasis to important information.

Nate and Mike have been working hard on completing the Tankbot, with some rad work going on on the top main gun. Nathan is working hard on perfecting the Arizona rig for the final battle (which will be awesome? Yes.), Ian Wilmoth has finished transferring his fantastically detailed model of the flying restaurant from Maya into Blender to better fit our specific “pipeline” and Paul Spooner, who’s made more 3D models for this movie than most anyone, is starting work on the Joint Command Lobby and is actually moving up to the Seattle area to better work on it! I think it’ll be great.

Until next week; Adios!

Ian Hubert
Writer Directer

Interview: Sean Anderson
Oct 2008 07

What is your name?
Sean Edward Anderson

How old are you and why?
22, because I’m a product of the 80s.

Read More [..]
The Ian Report #425
Oct 2008 10

The weeks move along!

It feels like we’re always on the cusp of a big breakthrough (and many times we are), but I’m really feeling it this time; Ian Wilmoth is wrapping one of (if not THE) most complex models in the movie, Icarias, the floating restaurant, and soon we’ll be able to start shots for that long sequence, Mike Belanger and Nathan Taylor are putting the finishing touches on the Tankbot (setting up the physics so that it can eject it’s 1-ft-diameter shells out across the pavement when it fires), Nathan Vegdahl is making excellent progress on rerigging the Arizona exosuit, Dolf is working on the Goose, and Paul Spooner will soon be arriving in Seattle (if he hasn’t already). And I’m working my butt off too (crazy compositing, texturing the paddywagon, modeling a goose engine)

All in all, things are good! The updates I’m seeing inspire me, and much is getting done.

Ian Hubert
Writer Directer

The Producer’s Report #49
Oct 2008 12

I am very pleased to announce that Scott Burnett is going to “test the water” as our soundtrack producer. Scott met with Ian, Nate and I last Monday evening to see the film and talk about approach. It was a great meeting and Scott’s ideas inspired us. He’s going to take a stab at developing pieces of those ideas over the next couple weeks to see how things come together.

Jen Forbes continues to be a powerhouse of productivity. Not only is she supervising our post-production efforts, she is editing her own feature film, Vital Force. Pretty dang cool.


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

Interview: Mike Belanger
Oct 2008 14

How old are you and why?
24, you’d have to ask my parents why

What got you started in film work?
No particular thing, just the general feeling of being able to craft your own film, or help someone else to do so.

Read More [..]
The Ian Report #426
Oct 2008 16

One of my favorite things about doing postwork on Project London is that it gives me a chance to rethink how a scene works.

Post provides a lot of options, and we’re NOT forced to live with whatever the footage provides, especially in this new crazy age of technical marvels. Say we forgot a scene, and want to do it in… stop motion? Or with flip books? Flannelgraphs? Shadow Puppets? Footage of an interpretive dancer (with subtitles)? As long as it doesn’t undermine some important aspect of the movie, why not?

And that’s what I’ve been doing a lot of these past few months; looking at scenes which aren’t exceeding expectations and figuring out ways in which they could. It’s a fun process. Recently I scoured over all of the greenscreen footage we got, and tried to work out if I could manufacture an entirely new sequence for a scene in which Jerry is destroying everyone. The answer was yes. And it is slow motion.

Paul Spooner arrived up here a weekend ago, and we’ve spent most of this week meeting together modeling and animating shots. He is an awesome human being, and has been working on creating the front of the Joint Command Tower so that it can have a physics simulation done on it so we can crash the Boulderwake into it for the scene in which… that happens.
I worked on texturing Dolf’s excellent Flying Paddywagon™ model, and have been inserting it into waiting scenes. Of which there are many.

Nate did some rad work on the IMMENSE (we calculated about 45 feet tall) Tankbots that patrol the yard.

So overall, things are going QUITE well, and estimates about the time of completion which I had become unsure about are suddenly looking much more plausible!

Ian Hubert
Writer Directer

The Producer’s Report #50
Oct 2008 19

I am pleased to announce that Michael Battcock has joined the Post Audio Team to help with dialogue synchronization. We now have three people working on this which means that we will soon flood Dan with a ton of clips ready for scrubbing (noise reduction and mild compression, etc.). Fun stuff!

Things are getting very exciting. We are working on a social network website for the project; a place where we can all interact with the fanbase we hope to build for the film. We’ll give you some more news on this item later.


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

Interview: Scott Burnett
Oct 2008 21

How old are you and why?
more than halfway home (because I’ve thus far failed to find a loophole in the second law of thermodynamics)

What got you started in film work?
delusions of grandeur

Read More [..]
The Ian Report: “Jerry’s on the roof!”
Oct 2008 24

It’s always the innocent looking shots that are the hardest.

For example, in a scene full of exploding ships, slow-motion aerobatics, flying missiles and bullets and muzzle flashes, the most difficult effect for me so far (well, more or less) is trying to paint out a safety rope.

It’s a shot for which we got no background plate (the background was moving clouds anyway), and the only shot in the movie (I believe) we used auto-exposure for, meaning that even the background plate I make pieced out of random other frames from the shot will only be accurate very briefly. The shot’s background is only sky at times, so there’s no way to motion track the shot automatically, forcing a hand track at points, and the rope itself isn’t just a single strand, but a whole mass, and it swings behind a slowly moving character who has to be rotoscoped (traced by hand).

And if I do a good job? When the time comes? You won’t even know which shot I’m talking about.
All that said, this sequence is exceeding my expectations for awesomeness, and it’s really gonna pick up the middle of the film, which excites me to no end.

In fact, this whole movie is exceeding my expectations for awesomeness.

And now, if you’ll excuse me, we are going to the store to get heads of lettuce for lunch.

Ian Hubert
Writer Directer

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