Rogue One Concept Art by ILM

Industrial Light and Magic have posted a treasure trove of concept art from Rogue One and The Force Awakens to their website. Concept art is more commonly associated with the pre-production stages of a film’s development, but ILM, whose focus is visual effects and therefore post-production, provide art direction and design throughout all stages of a film. Their incredible, and quite beautiful Visual Development work during post production is essential to the successful completion of a film.

The examples shown span numerous scenes from Rogue One, and include work by a number of different artists and designers, including the superlative Yanick Dusseault (Dusso)

┬áSee the gallery of work here – http://www.ilm.com/visual_development/post-visual-development-rogue-one-star-wars-story/

Virtual Set Designs for PWC

A very small preview of some new designs I have been working on at Lightwell, for PWC for use in the Newtek Tricaster equipped greenscreen studio. The new virtual set designs feature four separate presentation spaces, each designed a different presenting style and format. The complete set of new designs are due to launch in Spring 2017.

My earlier designs for PWC are featured on the Lightwell website.

Some very massive digital backdrops designed for Bloomberg Go

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My latest designs, for a set of digital backdrops for Bloomberg TV’s new, New York studios went live yesterday. The architectural scene in the backdrops is based upon Bloomberg’s own headquarters building in New York and is displayed in a set of massive LED screens. Often, with such large screens I tend to find that the pitch of the LED’s is coarse, but these have a luxurious 1.9mm pitch – by way of comparison, the screen we prepared at Lightwell, for TV4 News in Sweden is of a similar size, but has a 12mm pitch.

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The finer pitch resolution has meant that we’ve had to adjust our approach in a number of ways. Previously, we would avoid fine detail and focus on lighting across large areas, and establishing strong contrast within the imagery to counteract the effect of the diffusion screens that would be required in front of the LED’s. The superior resolution of the Bloomberg installation means that no diffusion screen is required, and so we now need to focus on finer details, particularly within the mid-shots, in a way that would have been a wasted effort on previous projects. The absence of a diffusion screen also means that we get better colour fidelity. LED screens tend to be excellent at re-producing colour anyway, but by removing the diffusion layer in the project, we have been able to achieve better blacks, and can be confident that what the viewer will see upon their screens, is the closest to what we see here in the studio that we have experienced.

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Another factor that we have had to adapt to on this project, like no other, is that extra pixels mean much larger file sizes. We’ve had to adapt to working with 12k composites, and the logistics of delivering and playing 8k video. This is a challenge that will be ongoing for the foreseeable future, but is one that I welcome, not least because it makes my work look infinitely better with each new technological advance.

This is a bold investment in technology by Bloomberg, one that I applaud. They have been a fantastic client.

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