Megagrants-WIP-Gil

- I am David Guerrero, etc etc
- resume

- team
-why is a good project

· This page describes the concept and planning for a short film (between around 1 minute to 2 minutes), using CG animation.
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· It will be a speculative, science fiction story showcasing an encounter with the new conflicts that will arise in cities in an immediate future. Starting from an idea I developed while making my last project: "We sought an intersection between a scientific replica and a stylized, science fiction creature, reaching a point where reality meets fiction".

· The core theme of the short are the limits of authority. The situation mimics our early encounters with oppresive encounters which, in our teenage years, we usually try to overcome. We check their boundaries, the moments when they can´t reach us, the frontiers of their operation.
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· The video will portray this speculative evolution of society through the daily life of an anonymous girl, going about her day in an unnamed city. It is based in a concept introduced by the Spanish Miguel de Unamuno, the intrahistoria, which is a form of understanding history through the small histories of anonymous people, rather than by focusing on major events. By having a common urban experience (going trhough an underpass to reach subway, to come back home after the club, to go to work...) happen in a sci-fi version of our world, it makes the sory more grounded and emotionally relatable to the viewer.
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NOTES:
- For the proposal, we will show blocking (in UE5), concept art, styling, team, casting, storyboard if needed
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- It will be registered in the copyright office in Madrid, defining each person´s role in the creation of the video.
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Income possibilities:
- Models, clothes, scans, etc. Could be posted in online platforms that sell 3D elements to be used by 3rd parties. Each item would generate a passive income to everyone involved in its creation.
- maybe short film festivals, or could be used as a pilot film for future commercial projects
- Grants given by Epic to projects made with Unreal Engine, the software I will most likely use for this video. We could expand the project and get the grants. Project would need to be as safe and not aggresive as can be for this, since the company won´t sponsor suff that´s too edgy or problematic
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I. concept & story

logline

[Provide a concise, compelling summary of the film's story and central conflict.]

KEY THEMES and messages

The core theme of the short are the limits of authority. The situation mimics our early encounters with oppresive encounters which, in our teenage years, we usually try to overcome. We check their boundaries, the moments when they can´t reach us, the frontiers of their operation.
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The video will portray this speculative evolution of society through the daily life of an anonymous girl, going about her day in an unnamed city. It is based in a concept introduced by the Spanish Miguel de Unamuno, the intrahistoria, which is a form of understanding history through the small histories of anonymous people, rather than by focusing on major events. By having a common urban experience (going trhough an underpass to reach subway, to come back home after the club, to go to work...) happen in a sci-fi version of our world, it makes the sory more grounded and emotionally relatable to the viewer.

script

Introduce the protagonist, Jane, a brilliant but introverted engineer working at a high-tech corporation.

Establish the setting: A sleek, futuristic metropolis where most people spend their lives immersed in a hyper-realistic virtual reality known as "The Nexus."

[Briefly outline the script's key plot points, character development, and pivotal scenes.]

In a future where vigilance systems, deliveries and transport have conquered the streets, model reclaims her right to make use of her home city (WIP) ...

The script will follow a classic 3 act storyline

SCRIPT:

Note: Need to act notes about facial expression

Since the environment is super relevant, we start from details of the space, like pieces of a puzzle, to then show it entirely.
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☉ Opens with insert shots.Insert shot of security camera, it has a blinking light. Camera is in semishadow, the light is very visible.

☉ Insert shots of street signs, shots of the concrete texture

☉ Shot of the floor.
✦ In the surface of the cobblestones, we see a the refletion of a light passing by.

☉ Then we see the entrance of the underpass from the inside. Camera goes from top to bottom, revealing daylight entering though the entrance. Camera dollies in. The final shot will mirror this, with the camera filming from exterior to the interior of the underpass, and from bottom to top. Will reflect the contrast between start and end.

- Maybe we see the shadow of the protagonist?

- Protagonist walking down the stairs. Long shot, shows full body and the stairs, static camera. We start with her legs, to end with full body

- She continues down the stairs, side shot
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☉ Medium closeup, from shoulders.
- As she reaches the bottom of the stairs, we see her touching the airpods. Looks around, looks art cameras. Then shot of camera looking at her. Return to same shot, she then pulls down her bandana, then pulls up the glasses. She then moves forward.

- Mid shot, from hip. She walks forward. Suddenly, she has to dodge something, we see her moving quickly to her left.

- She then looks to her back, and we see a shot of a drone flying up the stairs

- She looks forward.

- Shot of two drones coming from the other side of the tunnel

- The group of drones fly forwards, linearly, she has to stand aside to try to fit between the drones, trying to keep balance, she almost falls due to the air current created by the drones.

- She now is visibly angry, and continues walking

- Another drone (a caged one, so it does´t cut her) passes, making her jump aside. The drone hits her, staggers a bit, and then recovers flight balance. We see it fly and dissapear.

- Another drone will pass, she hits it and it falls to the ground, broken.

- She looks down, concerned expression in her face. Shot of the broken drone in the ground.

- She notices the airpod has fallen to the floor, next to the drone.
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- She reaches to it and puts it again on her ear. Medium closeup again.

- We notice surprise in her reaction, she sees more drones coming.

☉ Shot of new group of drones coming, then stopping.
- They back a bit, seem to doubt, she stands still looking at them.

- Eventually, the drones continue flying, this time evading her. They keep a noticeable distance, she remains still and looks around.

- We see her walking, we see a drone or two evading her.

Suddenly, the low half of the floor lights up, following her steps. As she goes, the floor and walls lights following her movement, feeling like the room has come to life. She has entered a public installation of sorts, that ends up lighting the entire hall for a few meters. Has to feel like the white room in THX 1138. They finally exit that lit area feeling confident

- We see her walking, with drones flying around.

- She starts teasing the drones, testing how much they avoid her. Moves her arms, jumps, etc. No matter what, drones always keep like 2m from her.

✦ Drones + protagonists are backlit, underexposed, silhouette visible, with back walls lit in white, silhouettes drones passing, evading her. Back shot, walking away.
Take this Akira scene as reference: https://youtu.be/5d9JsqXZP1M‍
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☉ Final shot camera goes bottom to top. Zooms out, showing the exit of the tunnel. We see the lights glowing inside the tunnel
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The script will follow a classic 3 act storyline

☉ Final shot camera goes bottom to top. Zooms out, showing the exit of the tunnel. We see the lights glowing inside the tunnel
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II. visual TONE AND STYLE

CINEMATOGRAPHY

[Describe the desired visual language, camera movements, and shot compositions to enhance storytelling.]

For the cinematography, it will follow a filmic, grounded camera treatment with static or slow camera movements. The editing will be linear, maintaining the progression of the character through the scene.

visUAL TONE

The starting point for the short was the Balenciaga Fall 21 campaign, which used Unreal Engine. I also was interested in the filmic treatment of the CG episodes of Love Death + Robots, proving that independent animation is more than ready to create adult, complex experiences. The third pillar would be the production design of "Children of Men" (Alfonso Cuarón, 2006); wich hosted a 2027 version of London. Rather than showing otherwordly looking structures and technology, the film shows a partially updated London, with futuristic elements coexisting with historical and current ones. It makes that science fiction London it more connected to the world we already know, offering a plausible, organic evolution of the city we are familiar with.
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visUAL TONE

The main reference for the spatial progression of the short will be this video below, found on Instagram. The location and the architecture of the space matches perfecly with the idea I had.

We will use Standard lenses for the cirtual cameras (35mm - 80mm), with occasional telephoto, if necessary.

Concept art images from Dune (2021), Alien and Industrial Light and Magic will also be a relevant point of reference

LIGHTING

[Explain the use of lighting, color palette, and visual effects. Highlight the utilization of UE5´s capabilities to enhance the visuals]

References for color, intensity, direction, and position of lights in the scene.

LIGHTING

SOUND DESIGN & MUSIC

[Discuss the role of sound design in creating the film´s atmosphere. Explain how music will be utilized to enhance emotional impact. Mention any plans for original scoring or licensed music.]

The soundtrack will be composed by Louis Carnell (previously working under the name Visionist), London-Based musician whose style connects deeply with the ambience of this short. His records have an ethereal, emotionally heavy quality, using both electronic and classic tools.

Link to his Apple Music (under Louis Carnell)

Link to his Apple Music (under Visionist)

Link to his Spotify (under Visionist)

Link to his Spotify (under Louis Carnell)

iii. character design

CASTING

Our first Option is Muriel Seiquer. Se has modeled for Balenciaga (in campaigns and runway), amongst other internationally recognised brands. More about her...

[Specify the required voice actors or performers for the main character and any other relevant roles.]
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MURIEL SEIQUER

@ JAQUETONA

@EMEDEMADDI

@FEBOMIXTER

main character design & styling

[Detail the appearance, personality and motivations of the main character. Discuss how Unreal engine 5 will bring the characters to life, including animation and facial expressions. Discuss the desired art direction, color palette, and visual motifs]

It will have a futuristic character, without going too far from current fashion, taking films like Akira and Ghost in the Shell as reference.

The clothes will have a protective, survival quality. These are pieces that will be necessary in urban environments with atmospheres that have turned harfmful for human´s eyes, skin, and respiratory system.
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It will be composed of small, independent brands: Greg Ross (US), Mowalola (UK), Emeerree (ES)

Both Greg Ross and Emeerree often craft their garments using repurposed vintage pieces, fitting a DIY, end of the world vision for products. In the future, where production has passed the breaking point for what the environment is capable of enduring, It would make sense to work with whats already available, rather than creating more items.
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She will wear a pair of current Airpods Pro (2022) to connect her with the present moment. Could be either because, although it is situated in a future, she´s still using old technology; or because headphones' design hasn´t evolved that much.

main character design & styling

DRONE DESIGN

[Describe the design, characteristics and role of the drone in the film. Discuss concept, functionality, effects using Unreal]

Three models, shown below, from left to right:
· A delivery drone, based on the Matternet 20:1 waiver
· A drone with a frontal camera, based on the DJI Inspire 3. The camera will be replaced by a multi sensor security camera (based on the 3XLogic Visix 20MP).
· An anti-pollution drone, based on the Botlink Octocopter.
· Alternatively, there will be a caged version of the delivery drone.
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DRONE DESIGN

iv. environment DESIGN

SETTING

Liminal space. A passing zone, undefined, could be anywhere, anytime. Vague enough, but very stylized. Should have an open zone, connecting with the exterior. A corridor - plaza hybrid, channel for human traffic and meeting. Probably during the day or sunrise, you should be able to see the exterior a bit

Insert 3D mockup of space here:

It will be accesible through stairs at the entrance (taking the evolution of the action in the video as reference), and the exit will be flat.

Will be based in the tunnel shown in the video below, the entrance to the Hakone Open Air museum in Japan.:

The tunnel will have an open space at the entrance and the exit, as well as on the top sides. The exterior will be visible from inside the tunnel through the entrance/ exit, and the top openings will allow sunlight to partially light the walls.
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The tunnel will be entered through a set of stairs, and will end in a wide, open exit.

The space will have a futuristic feeling, but that also could exist in current times. It will take the Temppeliaukio Church in Helsinki as main reference, since it´s aperfect example of contemporary architecture merged with ancient ways of constructions, almost as if an UFO landed on Stonehenge

There will be an emphasis on the texturing of the space. We will able to see the patterns that the concrete forms, as well as the brick patterns in the floor, There will be a combination of different pattern flows and materials, some more raw than others.

The floor will be composed of cobblestones, and the walls and ceiling will be made of concrete, each with a differnet hue and polish.

Below are lighting references. It will have big halogen lights on the top, and maybe some secondary signaling.

The light will be cold (closer to bue than yellow), industrial, and moderately bright

SETTING

Below are lighting references. It will have big halogen lights on the top, and maybe some secondary signaling.

The light will be cold (closer to bue than yellow), industrial, and moderately bright

props and DETAILING

The main lights will be long, horizontal LED lights. They will have a protective metal cage around them, and will be hanging from the ceiling, or inserted in it

The walls will have graffiti tags painted over them. The tags will be taken from in-site photographies in Madrid and its surroundings.

The tunnel will have detailing consisting of cables, pipes, panels, ect.

There will be light insertions in the concrete, which will serve as signs for location and navigation in the space

· Lighting ideas for the reactive floor at the ending

The concrete on the floor could be wet to hightlight the surface details, common cinematographic recourse

There will be security cameras in the space, distributed across the tunnel. One, or a few, will have a protective cage

props and DETAILING

The main lights will be long, horizontal LED lights. They will have a protective metal cage around them, and will be hanging from the ceiling, or inserted in it

The walls will have graffiti tags painted over them. The tags will be taken from in-site photographies in Madrid and its surroundings.

The tunnel will have detailing consisting of cables, pipes, panels, ect.

There will be light insertions in the concrete, which will serve as signs for location and navigation in the space

· Lighting ideas for the reactive floor at the ending

The concrete on the floor could be wet to hightlight the surface details, common cinematographic recourse

There will be security cameras in the space, distributed across the tunnel. One, or a few, will have a protective cage

v. workflow, team, budget & casting

WORKFLOW

[ Outline the production pipeline, and the proposed workflow for creating the film]

Unreal Engine 5 was chosen for the high rendering quality in real time, allowing a fast workflow and offering great space for experimentation inside the virtual environment. Furthermore, the use of Metahumans will be useful for a small team, since it offers a custom character already rigged and ready for animation or retargetting, with a high fidelity facial rig that can showcase complex expressions.
· The main character will be built using Metahumans, with a photogrammetry of the model to serving as base.
· Props and environment will be built in Maya; using Substance Painter, Photoshop, and Quixel Mixer for texturing.
· Clothing will be modeled in Marvelous, with sims made in Houdini.
· The animation software will depend on the method we decide on, being motion capture or keyframe.
· In case of using keyframe animation, a movement reference will be recorded in the O´Donell subway station, in Madrid, since it´s lenght and configuration greatly resembles the space planned for this short.

TEAM

Director, CG Artist - David Guerrero

Casting, styling, consulting - Lucía Lomas

Soundtrack - Louis Carnell

Storyboard - Ángel Palomeque

Concept art - María Fominaya

Consulting, clothing pattern - Aaron Moreno

Web UI/ UX, consulting - Carlos Gil Sabrido

Character animation - Several options

· We could opt for motion capture, which will be done by Raised by Monsters in Madrid, most expensive option
· We could opt for keyframe animation
      · We would need to record an actress for the performance reference
      · We would need a keyframe animatior
            · Elaina Scott
            · Carlo Loffredo (paternity leave, returns August)
            · Hector Romero Fraile
            · Derwin Torres
            · Xavier M.
            · Mandy Mok
            · Chris Mayne
            · Ruben Mkhitaryan
            · Hyojin Kim

budget

· Our first Option is Muriel Seiquer. Se has modeled for Balenciaga (in campaigns and runway), amongst other internationally recognised brands. link