Set Update: Shedding Velvet

This weekend I was on the set of Shedding Velvet as VFX producer! It's been a minute since I've updated on my work with the team so here's a quick recap of the past few weeks:

• I met with the crew early in the quarter to discuss the expectations of the transformation scene. Jules (director) was unsure of exactly what shots he wanted during the transformation when we originally spoke. They had already planned heavy sfx and costuming for the character post-transformation, but needed vfx for shots of the antlers, nails and possibly hair growing. I mentioned it would be difficult to match a fully cg asset to the sfx makeup. I pitched the idea of doing "reverse stop motion" where we film any scenes with the full sfx on, then use stop motion style technique-- slightly trimming the hair, nails and antlers in between each frame. This would then be put together in reverse order to make the sfx look like it's growing.

• After considering this option for a week or so, I spoke to the director and producer again. They had decided they wanted to change the shot framing for the transformation scene. Alex (producer) pitched the idea of a full shot with the character silhouetted by the moonlight during the transformation. I thought this was a great idea as we could animate a fully CG character, without having to worry about matching the antlers, hair and nails to the sfx. We continued down the path of this idea.

• During the final few planning meetings I made sure to iterate that this shot should be filmed at night to ensure we can get the best clean plate possible to use for the character, and so that the silhouette makes sense. I also had them plan time in the schedule to get an animation reference shot of the actor transforming.

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  When I arrived on set, it was around 4:30. I was a bit concerned about the call time being earlier than expected, but the producer told me they were filming the sfx portion of the transformation scene first. The DP immediately asked how we were filming the close-ups of the vfx shots. I told her that we are not doing close ups, we are doing the silhouette shot that was discussed weeks ago. Despite being in multiple meetings where this was discussed, she was extremely confused. The director and producer overheard and came over to make sure they were included in discussion. The DP, not understanding what the full vfx shot was, gave incorrect information to the 1st AD, which is why this shot ended up being scheduled for around 5 instead of sunset/night as discussed. The DP also believed that a silhouette shot could not be achieved at all because it was daytime, which I partially agreed with. We were able to achieve a silhouette, but the part of the actor facing the camera was not completely black. Since our Light was directly opposite the camera, we couldn't film a clean plate with the light on. We tried a few other options to see what works best. We moved the light over slightly so that it was coming from behind a tree. This made it so we couldn't see the light box, but still had the light/shadows on the grass generally in the direction of our reference with the actor. Since the light was coming more from the side now, I was concerned the silhouette wouldn't make much sense. I also had them film a clean plate with no light so that we could possibly add light/shadow in the composite. The entire time I felt that this could be solved if the scheduling had been done as discussed.

• I spoke privately with the director on set, and he said that reshoots will be in the beginning of winter. I mentioned the idea of possibly filming these shots again during the reshoot period and ensuring that they are shot in the pitch dark of night. I also mentioned I could consult with the primary compositing professor Patrick Murphy as a second opinion on how to make these shots successful. Jules was open to doing reshoots with these shots, as he wanted them to take place at night as well. We are still going to see if there is a way to make the footage we already have work.

• I received a rough edit of the various shots we have for the transformation scene that I can show professor Murphy in our upcoming meeting about the film.

Overall, I think despite a few setbacks, Shedding Velvet was a much more successful set than the previous Roots of Evanescence. I think I was able to apply what I learned on ROE to Velvet. I think that I had a stronger voice on Velvet than I did on ROE since I had grown into my role as a VFX producer a bit more. I think overall, the team was more organized and more willing to listen to my ideas and expertise, which helped tremendously. I still left this set with some notes to myself and more ways that I could improve in the future. I am excited to continue working on this project and to see the final product!