COVID Dystopia: Wacky Wavy 1

Posted on by Thor

I decided to animate the wacky wavy balloon arm guy in passes. The first pass is animating the body movement which is a straightforward wave. The head however drags giving some overlap at the extremes. The arms are the bulk of the action in the scene. Air billows through the tubes causing them to wave like a flag. The animation is being done straight ahead and I am looking at plenty of wacky wavy reference to see what the arms tend to do in real life. The billowing air causes an outward flowing wave then the arm snaps straight and starts to fall as the next wave of air billows out.

The possibilities of arm shapes are endless and my first pass was too stiff. The version of the COVID Dystopia scene in the film now is rather stiff with very little motion happening in slow motion. It actually works but I have to give this a shot to liven things up. If this version doesn’t work I can always fall back on what I already have.

COVID Dystopia: Press Kit Page 7

Posted on by Thor

This page has an abbreviated version of the end credits for COVID Dystopia. The Borg image isn’t actually in the end credits but I king of like it. With over 600 other unused images to choose from I have to stop myself from overthinking what should be included in the credits. Only about a dozen images scroll upwards as 30 second time lapse clips of the painting in progress.

My thought was that most people will not read the credits, but they do want something to look at that is moving.

I noticed there is a strange glitch in the V in COVID so I need to go back and figure out what is causing that. The glitch isn’t in the poster. Just another example of having to chase down digital anomalies. I am al so thinking the tag line might be better in a lighter typeface.

I am still working on the NYC scene I was cleaning up yesterday. I just need to draw bare arms and legs to improve the high resolution version of the scene. Most of the pant legs of the runners are black and moving rather fast, so they don’t need to be drawn as sharp. When this scene is done, I will go through the whole press kit one more time and make corrections.

COVID Dystopia: Press Kit Page 6

Posted on by Thor

The Queen’s COVID scene is one of the scenes with less motion in the film, but quite a bit of work went into making her appear three dimensional. Most people will not notice the effect but they will feel it.

I think I will finish the high resolution version of the crowd running from the robotic virus today. I have put two days of work into the scene so far,, but yesterday wasn’t really a full day. I work on layers in Callipeg redrawing sections that need refining. The low resolution green screen movie is on a bottom layer so I can work on top of it. One problem with Callipeg is that the green screen layer flickers on an off when the scene is played. This makes it seem like the scene will not render correctly. The last scene I did this way flickered as well but the render was fine. I have to just keep working and hope that it turns out fine in the end. It seems I keep pushing the limits of what the tech can handle.

The newest render of COVID Dystopia is now up on Film Freeway as we head into the new year. Once I finish the final scenes I need to get very serious about finding the early deadlines for film festivals in 2024. I have one year to get this film circulating at film festivals worldwide. Like very other aspect of the film’s production, I am on a steep learning curve.

I just noticed several more typos. I should go through the whole press kit one more time today and make corrections. Posting here is always a goo chance to catch mistakes as they try and slip by.

COVID Dystopia: Press Kit Page 5

Posted on by Thor

This is the Bios page of the press kit. Posting it here, I immediately notice a typo, so I should fix that.

Each morning I keep waking up and thinking I am working on the last shot in the film that needs improvement, but during the day I find something else that needs a tweak. I decided the Times Square Hazmat scene was of a high enough quality to keep as is. However I decided the crowd running from an alien crap virus craft needed work.

I got about half the crowd into the high resolution version of the scene and I need to work on the other half today. I changed the timing on an arm swing while I was at it. I suspect all the line work will have to be cleaned up for this scene to sharpen up the image. The scene is just over one second long but it will involve several days work to draw and paint the high resolution version.

The film was rejected by Sundance and Slamdance film festivals to start out the year. I need to get serious in 2004 to find all the early submission dates for film festival submissions. People either love the film or they hate it. There is no middle ground or grey area. I need to find the festivals willing to take a chance on screening this monstrosity.

One question at the Chicago International REEL Film Festival was, what was the cost of the film. For me there was no cost other than the insane amount of time I committed to the project. The laptop I purchased a year earlier but at the time I made sure it had enough ram and memory to handle film editing. The biggest cost it turns out is the admission fees for submitting to film festivals. Part of me wonders if I am making a mistake keeping COVID Dystopia off of Social Media so that it can have a film festival run through 2024.

COVID Dystopia: Press Kit Page 4

Posted on by Thor

The first post of 2024 involves me making a bunch of new folders on my computer to store images for the new year. This day also marks the start of panic as I prepare to pay the government taxes so they can continue to let COVID rip.

I am debating about going into the Times Square 2022 scene above and improving the resolution of the hazmat suited cleanup crew. With each animated scene I am now going back and making sure the resolution will hold up when projected on a large movie screen. With yesterday’s scene I also ended up adding a few more drawings to the scene to smooth out the motion. I now understand the importance of a clean up department in an animation studio, since the scene might feel complete but a second look can make it even better.

Sprout and Donkey, our two pups were in an absolute panic last night since neighbors turned the block into a war zone. Seriously they all must spend thousand of dollars on explosives. When I let the dogs out in the yard there was so much smoke that I couldn’t see the far yard fence.

I did a COVID themed painting for each of the last three years of the pandemic but I didn’t do one this year since I am focusing on refining the film. 2024 will be the year I push hard to get COVID Dystopia seen. Perhaps 2024 will be the year people start to realize that COVID is a vascular disease which is easily avoided with masks and air purification. The film battles amnesia and denial and is as important now as it was in 2020.

COVID Dystopia: Press Kit Page 3

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I am finishing up a high resolution version of the NYC Tsunami scene this morning.Looking back at this scene I am now thinking it might be good to fully animate the wacky wavy balloon arm crowd from the 2021 NYC New Years Eve celebration. According to the production specs on this page the film was completed in 2023, so this might be the perfect scene to animate on the final day of the year. The problem of course is that this may take a few days to fully animate.

The scene now has some very subtle animation of a few arms moving in slow motion. The scene as it is works and is only on screen for one second. This is the type of dilemma I keep facing. Is the scene good enough or do I need to make it exceptional. The film was good enough in May of this year and I have spent the last 8 months making each scene the best it could be. I start each revision with some trepidation but when complete I feel like it is the best scene in the film. The trouble is, I can’t be sure when the film is really done, since it can always be made better.

I am also aware that very few film festivals will want to screen COVID Dystopia since most festival judges would like to believe the pandemic is a thing of the past.

COVID Dystopia: Press Kit Page 2

Posted on by Thor

This contents page of the pdf has links to each of the other pages in the press kit. I spent the afternoon figuring out how to get those links to work. The press release has links to Analog Artist Digital World along with Facebook, Instagram and Twitter accounts. Now I am wondering if I should have a page devoted to just those links and basic film information kike format, duration etc. I might throw that together today.

I thought I might be dome with the film yesterday, but I found that the Lake Eola Zombie scene was blurry. I am doubling the scene resolution today and reworking that animation in Callipeg. I discovered that exporting high resolution images from Procreate as PNGs and then importing them into Callipeg resulted in the image losing resolution. I tried exporting the same image as a PNG File image and the resolution was better. It would have been nice to learn this on the first day of production rather than the last day. UGH!

I am happy that a better version of the film is now on Film Freeway and any revisions from now on are just issues in improving resolution. I am going to add a single white frame into the last scene in the film where the virus explodes. I think that flash will add some extra punch when the scene is projected in a dark theater.

COVID Dystopia: Press Kit

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Yesterday, it took me about seven hours to figure out how to render the whole film with Adobe Premiere Pro. Most of the renders had vertical lines running through each image and scenes would render partly off screen. I finally found someone on youTube who suggested I use adaptive bitrate and tick a box that uses the preview file to render the movie. Shockingly the whole film rendered faster than I have ever seen it render and everything was in its place.

For film festivals, it was suggested to use Quicktime and Apple Pro Res 4444 to render animation. The Film Freeway site however suggests using mp4 files so I stuck with that. It has been two months since I updated the film on Film Freeway and tons of fire effects and animation has been added since then.

After posting the new render on Film Freeway, I decided to go back into the press kit which is also on the site and revise all the pages with new, updated information. The opening page of the PDF is the new poster which is darker and a bit more menacing that the original image I created. For now I am putting laurels at the bottom of the poster. Another version has the tag line, “We might be done with COVID, but COVID is not done with us.” I am not sure weather laurels or the tag line are more important.

Though it might be nice to think the film is now done, I woke up today and thought I need to revise the Maya Sacrifice scene. I had the crying baby face animated onto the high priest but today I think a sculpted Maya mask would work better. I might animate an expression change on the mask since I animated the crying baby blinking. Then the film is done, or I might tinker more.

COVID Dystopia: Meat Packing Health

Posted on by Thor

I found that the resolution on this animation was to low. The line work on the arm showed hints of the green screen. I could eliminate that hint of green with a refine soft matte filter in After Effects but the lines themselves were also blurred.

I had to double the size of the scene in Callipeg to get back the crisp line work. I imported the low resolution MP4 and redrew the arms for each frame. The pig was also re-animated but he didn’t need to be redrawn each time. When the scene was finished and the blue screen mp4 was imported into After Effects, I found the pig was stiffer than he needed to be. I added some overlapping action by dragging the head and ears as the meat was swinging. I am now wondering if I should arch the entire pigs body as it swings but that might be overkill for such a short shot. I would need to abandon the animation I did in Callipeg and re-animate the pig in After Effects using a png image. I could poke pins in the pig body to bend it as it swings.

I tried rendering the entire film last night but it failed. I used all the settings that worked on past renders of the film but this time vertical lines appeared across the renders in the preview window. Several scenes also renders off center with half the image appearing black. Everything looks fine when I play the movie in the program but the render is a nightmare of glitches and ticks.

Like Thomas Edison, I might have to face thousands of failed attempts before getting a clean render of the whole project. I searched multiple forums for people who have experienced similar problems and there are many. The solution has to be out there, I just need to find it.