SANM - Week 5

Over the weekend I finished filling out the workflow document with more detailed breakdowns as well as some charts and pictures where people had more questions. I met with the other VFX leads and producer at Foxy Loxy to discuss how we are handling production and creating deadlines for the upcoming weeks leading up to the shoot. Violetta, Connor, Danci, and I went over all the assets, who was doing them, and when we needed them done by. We discussed the status of the block-out and came to the conclusion that we needed to be a little more firm with people. We needed to step into our roles as leads and start assigning, telling people what to do, and when we need it by, instead of hoping people will volunteer and get it done. We put this into effect the next class and it went really well. I checked in on everyone and made sure they knew their assignments, deadlines, and if they had any questions or concerns. I had Owen ask me how to bend the hose for his fire extinguisher model and Luis asked me how to migrate assets over from another level as I had requested people test kitbashing packs in a separate project, sort through them, then migrate only the ones needed for the project. I went ahead and made video tutorials for both those things and posted them to the slack. During class I helped some people through the maze of Perforce. It felt really good that people were comfortable coming up to me and even better that I actually knew how to answer and felt confident in my answers instead of being unsure and pointing them to someone else. I had never really felt comfortable as a lead like that before, so it was really satisfying to see things moving smoothly and everyone working efficiently. At the pre-load test we got a lot of work done. I organized a loose schedule of what every team had to do and made sure we were staying on task, making sure that everyone got what they needed to done. We had to do a lot of color correcting to make the camera recording the screen look right and bright enough. We had to fiddle around with the Exponential Height Fog to properly fade in the distance without overpowering the foreground too much. I talked with Nate and the Stage technician, Aaron, a lot about making sure we had the proper color workflow for postproduction in ACEs. I worked with Nate and the camera a lot to get the scene lined up and to scale with where our physical set would be. We discovered some issues that we noted to bring up to production design next class meeting. We got some really great test footage and critique on how the scene functioned. We determined that we need to look through the set camera more often instead of the scene as a whole, we have to much verticality when we need to expand more horizontally and further back into the tunnel.