Counting your blessings is good for the soul -- not to mention for convincing yourself and any investors that your project will succeed. Free culture is highly conservative, because it's possible to simply reuse ideas (and sometimes actual artifacts) with little to no cost. Here's seven things I'm really glad I don't have to worry about in designing the production model for our free culture animated series Lunatics.
This is my story about searching for Japanese pop music under a free culture license. It's a little tricky, because the best sites for this are of course, in Japan, and not well advertised on the English web. I discovered how to use Python's XMLRPC library to run searches using the web API for a Japanese music sharing site called "Wacca". The results were very interesting -- I found some of what I was looking for, though not all.
Often, when modelling in 3D, it's necessary to create a "backdrop" panoramic image. Typically this shows sky and distant land which should appear behind the foreground action. One place we'll need this for the pilot to Lunatics is for the sky in Baikonur, Kazakhstan on launch day at the beginning of the story. I had some very particular ideas about how this should look, and I want to create just the right look. Here's how I constructed it.
One of the great advantages of using a free license for a work is that you can re-use a growing body of free-licensed source material to help you do it. But it can seem a little daunting to find the material that you both want and can legally use. Here's a little bit of my strategy, a few tips, and some sources, including Jamendo, which I found to be the most useful for finding music. I also touch upon some useful free software tools for listening and sorting tracks.
We are getting very close to wrapping up the English translation of the script for "The Beautiful Queen Marya Morevna: Underground" (which is the working title of the film being produced by the Morevna Project). So it seems like a good time to talk about the software we've been using, which is MediaWiki.
I found a useful sound effect in an online video from NASA which replaces an earlier temporary sound I used in a scene soundtrack for the Lunatics pilot, "No Children in Space." I'm going to extract the sound from the video (with VLC), cut out the sound I need, clean it up, and insert it into an existing sound mix (all with Audacity). This should give you some insight into using Audacity and a VLC on a real project.
For Lunatics, we need several space vehicles. For a few of them, we have existing free-licensed computer models that we can use, but others are not so easy, or need customizations. The Soyuz launch vehicle is one of these, and it was relatively easy to model, since launch vehicles are geometrically simple (basically a bunch of extruded cylinders and cones). In Part I, I'll demonstrate the basic modelling techniques I used to create the Core Stage.
How do you get a flurry of images in your head into a concrete description of a film so that you can produce it? One important step is to create storyboards. For the storyboards on Lunatics, I've used a variety of approaches, from rough sketches on index cards to found photos and collages. This has allowed me to collect my ideas and get them into a concrete form -- both as cards I can manipulate directly and as images on computer that I will later be able to turn into an animatic.
Sometimes life is very circular. Once upon a time, I was a film major. Then I was an astronomer, then I was unemployed for quite awhile, during which time I discovered free software, and as a result of my various rantings about it, I started writing for Free Software Magazine. Now it seems that I've become a film-maker again. I'm working on not one, but two animated science-fiction films using free software tools, intended for a free-licensed release on the internet under new distribution models. And, being a writer, I'm going to write about it. I think it will be both entertaining and useful.
An animatic is a kind of a rough sketch for a film. It's not really meant to be an artform in itself (although some reach that point), but it is rather intended to be enough information for the filmmaker to make intelligent production decisions. It also must be cheap and easy, since effort that goes into the animatic will not appear in the final film. I have not yet fully decided what tool is right for doing the animatics for Lunatics, so I'm doing some experiments with different tools in order to decide. In this column, I'll create an animatic for a short sequence from the pilot.