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Frontier > Designing a Post Nuclear world > How to create a non-cliché post nuclear world?
by: Jani Salomaa

The post-nuclear setting is always an interesting place to drop your characters. But creating an original-feeling post-nuclear world is a tall order. The horse has essentially been beaten to death by all the Mad Maxes and Fallouts of the world. You say you want to create a world in which the rich are filthy rich, and the rest of humanity is reduced into life of poverty in the wasteland. I ask you: How is that scenario different from what is happening AT THIS MOMENT in countries like Sudan and North Korea? OK, there's no radiation. But that is of little relief to the suffering masses. If you look at the extreme places of this earth, you are sure to find inspiration for a dystopic movie. -Jani PS. If you wanted to add depth to your movie, you could try to analyze the psychological makeup of the rich people in such desolate countries. How can they justify to themselves to live in such comfortable luxury, as others die from hunger outside their garden gates.
2007 days ago | 0 Thumb-ups 
Oops, just noticed maybe I should have done this as a separate "shot", sorry about that Jani and William! I'm new here so I'm still learning how to use the site. Anyway, hope this helps.
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Frontier > Designing a Post Nuclear world > How to create a non-cliché post nuclear world?
by: Jani Salomaa

The post-nuclear setting is always an interesting place to drop your characters. But creating an original-feeling post-nuclear world is a tall order. The horse has essentially been beaten to death by all the Mad Maxes and Fallouts of the world. You say you want to create a world in which the rich are filthy rich, and the rest of humanity is reduced into life of poverty in the wasteland. I ask you: How is that scenario different from what is happening AT THIS MOMENT in countries like Sudan and North Korea? OK, there's no radiation. But that is of little relief to the suffering masses. If you look at the extreme places of this earth, you are sure to find inspiration for a dystopic movie. -Jani PS. If you wanted to add depth to your movie, you could try to analyze the psychological makeup of the rich people in such desolate countries. How can they justify to themselves to live in such comfortable luxury, as others die from hunger outside their garden gates.
2007 days ago | 0 Thumb-ups 
I think this is really very interesting. Since we have approach the film that the new settlement will have to be very agrarian simply out of limited resources and a destroyed technology base. Great points thank you
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Frontier > Designing a Post Nuclear world > How to create a non-cliché post nuclear world?
by: Jani Salomaa

The post-nuclear setting is always an interesting place to drop your characters. But creating an original-feeling post-nuclear world is a tall order. The horse has essentially been beaten to death by all the Mad Maxes and Fallouts of the world. You say you want to create a world in which the rich are filthy rich, and the rest of humanity is reduced into life of poverty in the wasteland. I ask you: How is that scenario different from what is happening AT THIS MOMENT in countries like Sudan and North Korea? OK, there's no radiation. But that is of little relief to the suffering masses. If you look at the extreme places of this earth, you are sure to find inspiration for a dystopic movie. -Jani PS. If you wanted to add depth to your movie, you could try to analyze the psychological makeup of the rich people in such desolate countries. How can they justify to themselves to live in such comfortable luxury, as others die from hunger outside their garden gates.
2007 days ago | 0 Thumb-ups 
Okay, looking at the Tripods clip again, maybe not a medieval town, but certainly not what you'd expect for 2089! :-) I saw this as a child and got REALLY scared when the boy takes his hat off to reveal what they've done to his skull... It's how the aliens control the people and stop them developing, by impressing a "cap" into their head. You can see it in another clip here (from 1:10 onwards): http://www.youtube.com/watch?v=QyGi0iYG9tA
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Frontier > Designing a Post Nuclear world > How to create a non-cliché post nuclear world?
by: Jani Salomaa

The post-nuclear setting is always an interesting place to drop your characters. But creating an original-feeling post-nuclear world is a tall order. The horse has essentially been beaten to death by all the Mad Maxes and Fallouts of the world. You say you want to create a world in which the rich are filthy rich, and the rest of humanity is reduced into life of poverty in the wasteland. I ask you: How is that scenario different from what is happening AT THIS MOMENT in countries like Sudan and North Korea? OK, there's no radiation. But that is of little relief to the suffering masses. If you look at the extreme places of this earth, you are sure to find inspiration for a dystopic movie. -Jani PS. If you wanted to add depth to your movie, you could try to analyze the psychological makeup of the rich people in such desolate countries. How can they justify to themselves to live in such comfortable luxury, as others die from hunger outside their garden gates.
2007 days ago | 0 Thumb-ups 
It's not quite "post-nuclear", but I was always scared by the British sci-fi series "Tripods", which showed life on earth after an alien invasion. It took a totally different approach to the "destroyed earth" scenario: nature has recovered, and people have too, there are lots of forests and human settlements living in peace. But science has vanished, and society has stopped developing. Technology is backwards because people have forgotten how to learn. The scariness isn't from any blood or wasteland, the scariness is seeing the first shot with 2089 AD and then a medieval village, it really makes you wonder "What the hell happened?". Here's a clip of the first part of the first episode: http://www.youtube.com/watch?v=r-5ZlZFh6xM People assume that society goes forward naturally, but it actually goes backward from time to time, and knowledge can be lost due to catastrophic events. The library at Alexandria burnt down, the Ancient Greeks' awareness of clockwork and steam engines were lost for 2000 years, and perhaps even modern technology will disappear one day to be replaced by a new medieval society.
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Frontier > Designing a Post Nuclear world > How to create a non-cliché post nuclear world?
by: Jani Salomaa

The post-nuclear setting is always an interesting place to drop your characters. But creating an original-feeling post-nuclear world is a tall order. The horse has essentially been beaten to death by all the Mad Maxes and Fallouts of the world. You say you want to create a world in which the rich are filthy rich, and the rest of humanity is reduced into life of poverty in the wasteland. I ask you: How is that scenario different from what is happening AT THIS MOMENT in countries like Sudan and North Korea? OK, there's no radiation. But that is of little relief to the suffering masses. If you look at the extreme places of this earth, you are sure to find inspiration for a dystopic movie. -Jani PS. If you wanted to add depth to your movie, you could try to analyze the psychological makeup of the rich people in such desolate countries. How can they justify to themselves to live in such comfortable luxury, as others die from hunger outside their garden gates.
2007 days ago | 0 Thumb-ups 
I am looking for kind of a BOY AND HIS DOG feeling fro the earth, the exception (where the majority of the action takes places) is the furrows, former mining sites which have been reclaimed under a domed environment, They are very green, very artificial but also rudimentary
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Frontier > Designing a Post Nuclear world > How to create a non-cliché post nuclear world?
Frontier takes place in a the post-nuclear world, the population is forced to leave a makeshift primarily agrarian environment, and roaming around stateless post-technological deserts. We are looking for designer to conceive and execute the building of an earth where only the very few corporate elite and the politicians can enjoy semblence of a modern life.
2007 days ago | 5 Comments | 1 Thumb-up 

The post-nuclear setting is always an interesting place to drop your characters.

But creating an original-feeling post-nuclear world is a tall order. The horse has essentially been beaten to death by all the Mad Maxes and Fallouts of the world.

You say you want to create a world in which the rich are filthy rich, and the rest of humanity is reduced into life of poverty in the wasteland.

I ask you: How is that scenario different from what is happening AT THIS MOMENT in countries like Sudan and North Korea?

OK, there's no radiation. But that is of little relief to the suffering masses.

If you look at the extreme places of this earth, you are sure to find inspiration for a dystopic movie.

-Jani

PS. If you wanted to add depth to your movie, you could try to analyze the psychological makeup of the rich people in such desolate countries. How can they justify to themselves to live in such comfortable luxury, as others die from hunger outside their garden gates.

Frontier

Just a sample of the images from the film

The films stars

Mia Caporale
Peter Whitaker
James Hardin
David DeSpain
and Lloyd Kaufman (founder of Troma

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Closed task: SPFX Project Overview
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Overall, the script is quite effects intensive. Almost every scene in the film has some compositing 
element whether it is a graphic insert on a communications device or a set extension and sky 
replacement. Without a doubt, the most extensive sequences will involve the Freighter requiring 
elaborate CG. 
 
Once we have some conceptual art, we will be in a better position to decide which elements of the 
A post nuclear Earth can be captured on film, and which will be CG. Choosing angles carefully to avoid gratuitously 
showing windows on interior shots and skies on exterior shots will reduce the visual effects workload. 
 
For the purpose of this preliminary shot list, all exterior shots are assumed to require sky replacements. 

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Scene 2:  
 
• This shot will be fully CG. 
The planet will need to be framed for the beginning of the shot to match Annie’s eye in Scene 1. 
The I Freighter JLP93 enters from top frame inverting showing the vessel name 
printed on the Hull. 
 
Scene 3: 
 
• A surface of a post nuclear Earth is seen out the window. (Composite) 
• We fly over Annie’s shoulder and through the window of the Freighter, into an establishing shot 
flying high over the surface of Earth showing the furrows, domes, mining, and monorail. 
 
Scene 4: 
 
• This shot will be fully CG. 
• A crane above is positioning a metallic cap section spanning the furrow. The work lights near the 
surface reflect off the rafter and existing panels of the cap. 
• The Freighter is seen through the top of the furrow as is prepares for landing. 

• Fully CG 
• Freighter lands on a landing pad with two monorail tracks to the domes and furrows. 
 
Scene 6 
 
• Composite of Annie looking out a window to see the domes interconnected with monorails. 
• Human Machine Interface (HMI) graphics are composted onto a ticketing booth. 
 
Scene 7: 
 
• This scene would be best shot in a field with a shack. The sky and dome can be composited in 
and colour corrected. 
 
Scene 8: 
 
• Same as scene 7. 
 
Scene 9: 
 
• Same as scene 7. 
 
Scene 10: 
 
• The furrows of Ganymede Farming Colony are composited into the window in front of which the fight occurs. 
 
Scene 11: 
 
• Retinal scan graphics display composited onto monitor. 
 
Scene 13: 
 
• Sky replacement on horizon of wheat field. The wheat proposes problems depending upon the 
composition of the shot. If any visibly singular wheat is superimposed over the sky to be 
replaced, rotoscoping will be next to impossible. We will require a chroma key backdrop. 
 
Scene 14: 
 
• Same as scene 7. 
 
Scene 15: 
 
• Same as scene 7. 
 Scene 16: 
 
• Wheat field plate with sky replacement. 
 
Scene 17: 
 
• Wheat field plate with sky replacement. 
•  
Scene 18: 
 
• Wheat field plate with sky replacement. 
 
Scene 19: 
 
• Wheat field plate with sky replacement. 
 
Scene 19: 
 
• Wheat field plate with sky replacement. 
 
Scene 20: 
 
• Composite of digital display on com device. 
• Composite of Ganymede into window. 
 
Scene 21: 
 
• Composite of Ganymede Farming Colony street elements into street set. 
 
Scene 23: 
 
• Composite of footage and graphics onto intercom display. 
 
Scene 24: 
 
• Fully CG shot of a retinal scan. 
 
Scene 25: 
 
• Composite of Senator Rigsby into intercom. 
 
Scene 29: 
 • Sky replacement onto backdrop 
• Com device graphic composite. 
 
Scene 32: 
 
• Sky replacement for rock face. 
 
Scene 34: 
 
• Composite of furrow into window behind Annie. 
 
Scene 36: 
over lay of video screens
 
Scene 37: 
 
• Sky replacement, set extension. 
• Blaster fires and blows apart Prisoner. 
 
Scene 38: 
 
• Composite of the Jupiter like moon into the window of Chin’s place. Planet appear different 
here from previous scenes. 
 
Scene 39: 
 
• Composite of graphic on intercom screen. 
 
Scene 40: 
 
• Composite of graphic on intercom screen. 
 
Scene 44: 
 
• Sky replacement for alleyway. 
 
Scene 45: 
 
• Blaster destroys intercom on wall. 
• This should be a combination of pyrotechnics and CG. 
 
Scene 46: 
 
• Sky replacement for alleyway. 
 
Scene 48: 
 
• Sky replacement for alleyway. 
 
Scene 49: 
 
• Sky replacement for alleyway. 
 
 
Scene 50: 
 
• Sky replacement for alleyway. 
 
Scene 51: 
 
• Sky replacement for alleyway. 
 
Scene 52: 
 
• Sky replacement for alleyway. 
 
Scene 53: 
 
• Sky replacement for alleyway. 
 
Scene 54: 
 
• Composite of digital display on com device. 
 
Scene 55: 
 
• Composite of the Freighter flying over the Monorail Station seen through the window. 
• Lights from the Freighter reflect on the window and illuminate Annie. 
 
Scene 56: 
 
• Composite of the Freighter flying into the horizon seen through the window. 
• Camera is framed on Jupiter planet in same location and size as Annie’s eye in the superseding 
scene. 
cene 57: 
 
• Composite of Annie into Chin’s place.  
• Camera dollies out revealing CG building. 
 
Scene 58: 
 
• Composite of starry sky into window. 
 
Scene 59: 
 
• Fully CG shot of the earth set in star field.