The last piece of staying creatively active is to stay physically active. It is easier to move a boulder downhill than to push a boulder uphill. Maintain the creative momentum that drives the creative process. I am a believer that physics is an influence in consistently brewing new and innovative ideas. At the very least, find time to brainstorm creative ideas. Instead, find the occasional hour or two each day to dedicate improving your artistic abilities. Do not spend hours and long nights in your craft. It may initially seem like a conflict of interest when I suggest pursuing creative avenues while enjoying the holidays, but I am simply suggesting staying active. I will struggle with taking my own advice, but I have supplied a list of methods to take advantage of the holiday season. I admit, I have difficulty taking time away from work and allowing a natural resurgence of my creative energy. I suggest taking advantage of the upcoming weeks and recuperating from the workload of the past year. Usually by the end of the year, multiple projects and numerous stressful weeks have passed and the creative capacity is running dangerously low.
Life for most individuals will pause temporarily, and for creatives, the time away can be a benefit for creative energy. The annual year end holiday events are underway. To make due with the poor lighting, lights from cellphones and a flashlight were inevitably used, but the lumen intensity did not provide much of a visible difference. Also, include diffuse material for the lights to soften the shadows cast by the lights if needed. I was educated to always have additional lights at the shoot. I underestimated the presence of the ambiance of the street lights. One immediate roadblock was the lack of natural light.
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That lens was more portable and allowed for greater stabilization in more intensive kinetic sequences.
The 18-135mm lens was strictly used for the entire second scene. The lens provided natural lens flares, and allowed for most of the frame to be filled with positive space. The majority of the shoot required the 70-300mm lens because of the depth of field quality. It was a one camera shoot, and the camera was a Canon EOS 60D with three lenses (50mm, 18-135mm, and 70-300mm). The production of 'Street Lights' took place over the course of four-five hours on one very cold night. The actor is seeking guidance and requesting assistance from the feminine energy. The last shot has the actor reaching toward the crescent moon. Artemis is the goddess of the hunt, nature, and birth.
The crescent moon symbolizes the Greek goddess Artemis. Throughout the project the moon is present, and it is a crescent moon. The third scene is the opportunity for the character to truly adjust their mentality. By inviting the fans along for the ride, it makes the dream accessible to everyone.And finally, the third scene was a pivot point to a positive headspace: essentially through tone and visual representation. You can also watch Samtubia & Samgoma accept their Filmmaker Select Awards at Star Wars Celebration Europe 2016 here.įan films can be the lifeblood of a franchise.
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SOFTWARE PLUGINS: Magic Bullet Looks, Magic Bullet Film, Primatte Keyer, Solid Angle Arnold, Video Copilot’s Element 3D, Video Copilot’s Saber, Video Copilot’s Heat Distortion, The Foundry 3D CameraTracker and Video Copilot’s Optical Flares SOFTWARE: Adobe Premiere Pro, Adobe After Efffects, DaVinci Resolve, Adobe Audition, MAXON Cinema 4D, Houdini FX, and Vue xStream. Edwards, Ola Edwards, Brenda Edwards, Chris Alvarez, and P.J. Peacock, Mike Wills, Daryl Evans, Lindsey W. Special thanks to Al Parchment, Christina G. The one for the competition was a cut-down version to conform to the Star Wars fan film competition rules on length.