Juice Production Newsletter #11

This week’s newsletter will be the final production newsletter for Juice. Although our film’s production newsletters have come full circle, Juice’s journey has only just begun. We have been submitting Juice to film festivals taking place from now through 2019. If accepted to these festivals, Juice has the possibility to be screened across the world.

Juice Production Newsletter #10

Now that everyone has had a chance to watch Juice, I want to feature Dylan Kissel (sound designer/lead sound editor) and Christian Kolo (composer) talking about their own experiences while working on Juice.

Juice Production Newsletter #9

We are beyond excited to announce that Juice is complete and available for your viewing pleasure! It is a surreal and bittersweet feeling to finally have the film finished. After working on Juice for the past eight months, it has become a major part of our lives. Releasing our art into the world is both a scary and magnificent feeling. We are so proud of all we have learned and accomplished through Juice and are even more inspired to make our next film. Thank you for your support, we could not have done this without you.

Juice Production Newsletter #8

Friday, March 23rd, we will be releasing Juice to the public via Vimeo, so take advantage of your early screenings while you can. We will also be releasing promotional trailers for the film between now and March 23rd through our Facebook page, www.facebook.com/thefilmjuice. If you haven’t already, be sure to give our Facebook page a like to stay instantly updated on all things Juice.

Raw and Log: The Superior Recording Formats

Raw and Log formats are used to achieve similar desires within video, including higher quality, a greater dynamic range, and more control in post-production. Although both formats allow for similar results, raw and Log recording is not the same.

Juice Production Newsletter #7

In post-production, I have been working on Juice’s special effects. This past weekend, I have focused primarily on the ComBox’s lights. As Violet interacts with the ComBox, the lights change colors. I am also working on increasing the intensity of the lights, particularly the ComCard slot’s light, to give it a more dramatic effect.

Silver Saucer Productions Animated Logo

All of the assets were drawn in Photoshop. To create each element, I used the master version of the original Silver Saucer Productions logo and then used layers to roughly trace over the master. This gave three options of variance within each element, helping to create the "wiggle" effect that is continuous throughout the entire animation.

Juice Production Newsletter #6

This week’s newsletter is going to be a quick update on our progress in Juice’s post-production and how we stay organized with approximately 15,120 frames of footage to keep track of. Our primary in-house goal for Juice’s remaining post-production is to complete the audio/soundscape and visual effects. Before beginning the tasks of creating the audio and visual elements, we first made maps of what needed to be accomplished. We broke down the film into shot-by-shot segments and recorded the shots’ SMPTE timecode to allow for easy navigation.

Creating "The Multiplane Camera"

"The Multiplane Camera" is a short motion graphics film on Walt Disney's use of the multiplane camera. Although Disney's name is on the patent, the multiplane camera's earliest history can traced back to Lotte Reiniger in 1926 Germany, for her color-tinted animated film The Adventures of Prince Achmed. Since then, Walt Disney Studios' innovations of the multiplane camera have evolved through 80 years of Disney classics.

3D Modeling: Squirtle

Rigging is the process of adding a skeleton and skin to the character, as well as adding controls for animation. Certain joints require certain types of controls, for example IK (inverse kinematics) handles versus FK (forward kinematics) handles. IK is often used for legs, controlling from the hip, and FK is often used for arms, controlling from the wrist.