Hello everyone! I wanted to write you to give an update on “Monster of the Sky.”
As most of you know, I have been consumed with directing the feature film “Yamasong: March of the Hollows.” It has been an amazing journey so far and I am here to report that “Yamasong” is now in post-production.
While there is plenty of work to be done on the post-production side, I have a solid team of VFX artists working to finish this feature, with my oversight. Our goal is to finish in 2016. Now my heart returns to our short film “Monster of the Sky” and the work we’ve put in to it so far. My plan is to finish it in 2016 too.
My apologies it’s taken so long to update you on “Monster of the Sky.”
As I sit here writing this, I hear two hard drives working away copying files of the footage we shot over three sessions over the course of two years, both in L.A. and Portland. It’s going to take most of the day to copy files over.
My first task is to consolidate all the footage so it lives in one place, on a faster, newer drive, so I can dive in to the final edit of the film. I’m coming back to this with fresh eyes, and the experience I’ve been gaining on a feature film. I have new ideas how to cut the short film and make it more dynamic and stylized.
One question that arises is the facial motion capture R&D. After I completed the second Kickstarter campaign, my original plan was to go back to the mo-cap studio we teamed with to capture the original data. Unfortunately, they are no longer available, so I started thinking about a Plan B. I purchased software and a 3D camera to enable a smaller, self-contained way of capturing facial movement and data. I thought I was set then, in 2014… but coming back to it now, I’ve found the 3D camera and software manufacturer was bought by Apple and discontinued. I can’t use this equipment! Important lesson: the march of technology moves at a fast pace and can leave you quickly behind!!
My immediate goal is to cut the film together – see how all the pieces fit. Make sure the story and characters are dynamic and compelling. Next, I will be able to look at shots and figure out exactly how many facial mo-cap shots we have. From talking to one of my backers, I may have a new solution to the facial motion capture question. We shall see – I’d hate to lose this opportunity to explore combining live puppetry and faces “puppeteered” remotely by a mo-cap artist. This is the grand experiment of “Monster of the Sky”!
Thank you all for your patience, and I hope to give you more updates in the months to come as we delve deeper into post-production.
May your holidays be blessed as we approach a new, exciting year!