The front page has been updated. Someone named Jayne Rowlands is now at the helm.
By Gabriel Strange
March 2nd, 2012
I original met Lydia and Gabriel in September last year and it was with great excitement that I read the novella and read up on the project website – this was indeed a world apart from the usual student film and that excitement just grew the more I discussed it with them. Their passion and dedication to the film over such a long period was overflowing and their guerrilla spirit instantly appealed to me – achieving a visceral and seemingly expansive world through working smartly and making the best use of available tools and limited resources to still end up with a realised vision that has not been comprised.
I knew straight away I had to be part of it! It had been a real struggle for them at the first attempt at post-production but this is a film that deserves to be completed and not left festering on a RAID drive. Last month they handed me the script and cameral files and post-production had officially restarted.
We are starting from foundations to ensure it is handled as professionally as possible – breaking down the script, organising, cataloguing and converting the camera files so it can go back to editorial and gathering reference and contextual resources to develop concept art.
As so much of the film is set in confined interior sets some sense of scale is vital to the exterior establishing shots of the two principle locations (Iolanthus Surface and Spatz Island) to really give a sense of the world (and times) where the main narrative unfold. I feel a little love spent of these two shots through 3d matte paintings will really benefit the story overall. For the broken down, scavenged, post-industrial and savaged landscape of Iolanthus I have been looking at abandoned places such as Pripyat (in the Chernobyl exclusion zone), Detroit, Kadykchan and Kolimino in Poland.
For Spatz Island I have found some amazing reference in the abandoned military island of Hashima in Japan ands some of the wonderful bases left in places such as the Ukraine after the collapse of the Soviet Union. Gabriel and Lydia really want the idea of an old place that has been taken back and repurposed. For the final shots I will be heading out around South Wales for a few days with my trusty Canon and making the most of the amazing places we have here and ensuring the final result is of extremely high quality
For the rest of the film organisation and planning is key, investing the time and resources where it counts and using effective simple techniques where that produces a satisfactory results. I am really inspired by the director and visual effects artist Gareth Edwards who really showed what can be achieved this way with Monsters as well as Neil Blomkamp with District 9
Once initial shots and planning are in place, a number of other artist with the appropriate skills to see it through to completion including a character artist to create the final Iolanthe. I haven’t really talked to Lydia and Gabriel too much about the music yet – a couple of tracks exist but the rest of the scoring is vital – editing, audio and visual effects all have to work to support each other.
I look forward to releasing some initial concept art of the Iolanthus surface next week and updating you as we move forward. Initially we are looking to complete the first 10 minutes and once this is established and the main digital assets already created completing the rest will flow smoothly with the rest of the team
I would like to thank Gabriel and Lydia for the faith they are showing me and I am really happy to be working with them facilitating and seeing post-production through to completion. A lot of hard work lies ahead, it has been a long road so far for Casimir Effect and as always the final miles are the toughest but we are ready for it! See you at the end.
Jayne Rowlands @ Cinesthesia