Brooklyn, New York
Hello friends,
Mid August and time for an inventory of the motion graphics tasks, though with surprises around every corner there’s really no way to compile a comprehensive list. At least I can document what’s obvious, estimate the amount of time each task will take and project an ETA for the finished product. Of course I am still climbing the learning curve of After Effects and the myriad of supporting applications, so time estimates are highly dubious.
What the hell, let’s give it a go.
So here’s a spreadsheet detailing about 95% of what’s left to do for motion graphics. On the right is the time in hours. Tasks that don’t have an hour estimate are either part of another task or are not a priority. The total is 297 hours.
|
IN |
OUT |
scene |
department |
specialty |
description |
297 |
| 00:00:00:00 | 01:00:46:00 | act 0 | mg | plan | mg strategy, which images are the priority? CG and re-edit montage after | 2 |
| 00:00:00:00 | 01:00:46:00 | act 0 | mg | montage options | assemble all usable shots for possible speed up and then stop, opening montage | 6 |
| 00:00:00:00 | 01:00:46:00 | act 0 | mg | montage options | what’s the strategy, how does this thing start? | 20 |
| 00:00:00:00 | 01:00:46:00 | act 0 | mg | plan | fast montage why are we seeing all these images so rapidly from whose perspective? is it time travel, a progression, joes travels? | 6 |
| 01:00:00:00 | 01:00:46:00 | act 0 | mg | montage options | 007U7 shot of broken rails | |
| 01:00:00:00 | 01:00:46:00 | act 0 | mg | montage options | 0027X9, 00241C, 0026H3 rails into forest rails into rainforest 00256B | |
| 01:00:00:00 | 01:00:46:00 | act 0 | mg | montage options | 003CU bricks close on beach | |
| 01:00:00:00 | 01:00:46:00 | act 0 | mg | montage options | 0032Y misty morning water | |
| 01:00:00:00 | 01:00:46:00 | act 0 | mg | montage options | 0011Z8 water with silhouettes, could be mailboxes or something on the top of a building | |
| 01:00:00:00 | 01:00:46:00 | act 0 | mg | montage options | 0007R6, swamp | |
| 01:00:00:00 | 01:00:46:00 | act 0 | mg | montage options | donkey barn needs metro sign | 2 |
| 01:00:00:00 | 01:00:46:00 | act 0 | mg | montage options | 00051I smoke stack | |
| 01:00:00:00 | 01:00:46:00 | act 0 | mg | montage options | 0008WB, 0007CG weight limit sign | |
| 01:00:00:00 | 01:00:46:00 | act 0 | mg | montage options | ship and shore, ship aground | |
| 01:00:00:00 | 01:00:46:00 | act 0 | mg | montage options | 00160N shoreline concrete | |
| 01:00:00:00 | 01:00:46:00 | act 0 | mg | montage options | 0013G7 another really great closeup of bricks and water | |
| 01:00:00:00 | act 1.0 | mg | repair character C | can uncle joe be more plausible? makeup is not totally convincing | 0 | |
| 01:00:00:00 | act 0 | mg | essential story A | don’t trust the dead! deceased persons need not apply other posters? | 0 | |
| 01:00:00:00 | 01:00:46:00 | act 0 | mg | montage options | 0017Q2, 00198Q water and bricks with sun | |
| 01:00:00:00 | 01:00:46:00 | act 0 | mg | montage options | winter highway | |
| 01:00:00:00 | 01:00:46:00 | act 0 | mg | montage options | uncle joe traveling | |
| 01:00:00:00 | act 1.0 | mg | essential story C | should joe have a PKD pin? | ||
| 01:00:00:00 | 01:00:46:00 | act 0 | mg | montage options | steel skeleton skyscrapers over the road with tunnel | |
| 01:00:00:00 | 01:00:46:00 | act 0 | mg | montage options | 00075G close up of suspended train car | |
| 01:00:45:23 | 01:01:11:16 | act 0 | mg | essential story A | gerry outside, 3 shots that could be used for more exposition horizon has wreckage, crashed spaceship, you name it. | 4 |
| 01:00:53:23 | 01:01:03:12 | act 0 | mg | essential story A | broken windows in museum, smoke billowing out, (warehouse, fire?) signs posted here too | 8 |
| 01:01:11:15 | 01:01:21:02 | act 0 | mg | essential story A | c walking transform wharfside with alexander henry into flood scene, restaurant neon pokes up out of water, roof of a house, etc. she’s walking along something unexpected | 3 |
| 01:01:11:15 | 01:01:38:02 | act 0 | mg | essential story A | alex henry – name change, missing sign, what else could tell the story? (2 shots) | 3 |
| 01:01:38:03 | 01:02:02:05 | act 0 | mg | essential story A | unsteadicam hallway needs red light and perhaps dawn water in porthole window, bloom color transform | 4 |
| 01:01:38:03 | 01:02:02:05 | act 0 | mg | essential story B | steadicam tracking practice, armory guns and swords, wire tangles, signs… what other stuff could be on the walls? | |
| 01:01:38:03 | 01:02:02:05 | act 0 | mg | essential story A | unsteadicam hallway box labels and posters | 6 |
| 01:02:02:06 | 01:03:54:13 | act 1.0 | mg | repair production | extension cord in shot, vertical corner and floor. could be passable | 1 |
| 01:02:29:17 | 01:03:54:09 | act 1.0 | mg | essential story C | phone whispy springy antenna, little blinky lights? | |
| 01:03:10:17 | 01:03:15:14 | act 1.0 | mg | repair light | “believe me it’s important” when christina turns back, room gets darker… why check original files a) cause – an iris adjustment during shooting most likely, although i don’t remember being by the camera at this point. b) solution – using keyframes on the color corrector and slight increase in highlight value over the three or so frames that the scene darkens c) also changed old color corrector to bring correct excess luma and copied color corrector to previous shot (same shot) to match | 1 |
| 01:03:50:16 | 01:03:50:21 | act 1.0 | mg | repair actor | c glances at camera, can we fix? | 1 |
| 01:03:54:14 | act 1.0 | mg | essential story B | c rises up, cut to mirror. she’s in darkness, she could be a little more in the dark there then emerge into the light… naw | ||
| 01:03:54:14 | 01:08:51:05 | act 1.0 | mg | repair continuity | continuity, christina’s dress tag (near shoulder) comes and goes (5 without, 9 with) | 5 |
| 01:04:11:14 | 01:04:14:03 | act 1.0 | mg | repair light | the door is slightly ajar, light is coming through, black along the seams both as she opens and when they are talking with it closed | 2 |
| 01:04:14:14 | 01:04:26:23 | act 1.0 | mg | repair production | windows water – c opens door (roto) | 4 |
| 01:04:14:14 | 01:04:26:23 | act 1.0 | mg | essential story A | door frame red hall c opens door (roto) | 2 |
| 01:04:27:00 | 01:04:38:21 | act 1.0 | mg | essential story A | red hall c opens door (roto) | 4 |
| 01:04:38:22 | 01:04:56:00 | act 1.0 | mg | repair production | windows water (roto) | 4 |
| 01:04:56:01 | 01:05:03:14 | act 1.0 | mg | essential story A | red hall “not your uncle joe” (roto) | 4 |
| 01:05:03:15 | 01:05:04:22 | act 1.0 | mg | repair production | windows water (roto) | 4 |
| 01:05:03:15 | 01:05:04:22 | act 1.0 | mg | essential story A | door frame red hall | 2 |
| 01:05:04:23 | 01:05:08:13 | act 1.0 | mg | essential story A | red hall “my name is melchior” (roto) | 4 |
| 01:05:08:14 | 01:05:10:18 | act 1.0 | mg | essential story A | door frame red hall | 2 |
| 01:05:08:14 | 01:05:10:18 | act 1.0 | mg | repair production | windows water (roto) | 4 |
| 01:05:10:19 | 01:05:20:04 | act 1.0 | mg | essential story A | red hall – “only assumed the appearance” (roto) | 4 |
| 01:05:20:05 | 01:05:22:23 | act 1.0 | mg | repair production | windows water (roto) | 4 |
| 01:05:20:05 | 01:05:22:23 | act 1.0 | mg | essential story A | door frame red hall | 2 |
| 01:05:23:00 | 01:05:29:04 | act 1.0 | mg | essential story A | red hall hat (roto) | 4 |
| 01:05:27:08 | act 1.0 | mg | essential story B | transfer of hat from j to c electric sparks like static from his head, crackling and sputtering? | ||
| 01:05:29:05 | 01:05:38:23 | act 1.0 | mg | repair flaw | scratch on window – uncle um… | 2 |
| 01:05:29:05 | 01:05:38:23 | act 1.0 | mg | repair production | extension cord in shot vertical corner, with gaffer tape. extends to seaman plaque horizontal | 3 |
| 01:05:40:13 | 01:05:45:07 | act 1.0 | mg | essential story A | red hall “are you an angel” (roto) | 4 |
| 01:05:45:08 | 01:05:57:23 | act 1.0 | mg | repair production | joe’s radio mic is visible at collar of shirt… | 2 |
| 01:05:45:08 | 01:05:57:23 | act 1.0 | mg | essential story A | door frame red hall | 4 |
| 01:05:45:08 | 01:05:57:23 | act 1.0 | mg | repair production | windows water (roto) | 4 |
| 01:05:58:00 | 01:06:29:10 | act 1.0 | mg | essential story A | red hall “what’s the deal” (roto) | 4 |
| 01:06:29:11 | 01:06:37:18 | act 1.0 | mg | repair production | joe’s radio mic is visible at collar of shirt… | 2 |
| 01:06:29:11 | 01:06:37:18 | act 1.0 | mg | essential story A | door frame red hall | 2 |
| 01:06:29:11 | 01:06:37:18 | act 1.0 | mg | repair production | windows water (roto) | 2 |
| 01:06:37:19 | 01:06:43:19 | act 1.0 | mg | essential story A | red hall “he was born” (no roto) | 4 |
| 01:06:43:20 | 01:06:59:05 | act 1.0 | mg | repair production | windows water (roto) | 4 |
| 01:06:43:20 | 01:06:59:05 | act 1.0 | mg | essential story A | door frame red hall | 4 |
| 01:06:43:20 | 01:06:59:05 | act 1.0 | mg | repair production | joe’s radio mic is visible at collar of shirt… | 2 |
| 01:06:59:06 | 01:07:02:03 | act 1.0 | mg | essential story A | red hall – “really” (no roto) | 1 |
| 01:07:02:04 | 01:07:09:06 | act 1.0 | mg | essential story A | door frame red hall | 4 |
| 01:07:02:04 | 01:07:09:06 | act 1.0 | mg | repair production | windows water (roto) | 4 |
| 01:07:02:04 | 01:07:09:06 | act 1.0 | mg | repair production | joe’s radio mic is visible at collar of shirt… | 2 |
| 01:07:09:07 | 01:07:14:22 | act 1.0 | mg | essential story A | red hall lesbian (no roto) | 1 |
| 01:07:14:23 | 01:07:22:11 | act 1.0 | mg | repair production | joe’s radio mic is visible at collar of shirt… | 2 |
| 01:07:14:23 | 01:07:22:11 | act 1.0 | mg | essential story A | door frame red hall | 4 |
| 01:07:14:23 | 01:07:22:11 | act 1.0 | mg | repair production | windows water (roto) | 4 |
| 01:07:22:12 | 01:07:26:02 | act 1.0 | mg | essential story A | red hall lesbian too (no roto) | 1 |
| 01:07:26:03 | 01:07:34:19 | act 1.0 | mg | repair production | windows water (roto) | 4 |
| 01:07:26:03 | 01:07:34:19 | act 1.0 | mg | repair production | joe’s radio mic is visible at collar of shirt… | 2 |
| 01:07:26:03 | 01:07:34:19 | act 1.0 | mg | essential story A | door frame red hall | 4 |
| 01:07:34:20 | 01:07:45:15 | act 1.0 | mg | essential story A | red hall “so super” (no roto) | 1 |
| 01:07:46:20 | 01:07:48:06 | act 1.0 | mg | repair production | joe’s radio mic is visible at collar of shirt… | 2 |
| 01:07:46:20 | 01:07:48:06 | act 1.0 | mg | repair production | windows water (roto) | 4 |
| 01:07:46:20 | 01:07:48:06 | act 1.0 | mg | essential story A | door frame red hall | 4 |
| 01:07:48:07 | 01:08:10:05 | act 1.0 | mg | repair production | extension cord in shot vertical corner, with gaffer tape. extends to seaman plaque horizontal | 3 |
| 01:07:48:07 | 01:08:10:05 | act 1.0 | mg | repair flaw | scratch on window – “did god…” wide scratch on coat not as prominent | 2 |
| 01:08:25:02 | 01:08:32:04 | act 1.0 | mg | repair production | extension cord in shot vertical corner, with gaffer tape | 3 |
| 01:08:25:02 | 01:08:32:04 | act 1.0 | mg | repair flaw | scratch on window – “twice the miracle” | 2 |
| 01:08:39:00 | act 1.0 | mg | essential story A | or the bra scene, could we do something sort of like the impact scene from clockwork orange? several moments in there – what? flashback | 2 | |
| 01:08:51:05 | 01:09:04:20 | act 1.0 | mg | repair production | extension cord in shot vertical corner, with gaffer tape | 3 |
| 01:08:51:05 | 01:09:04:20 | act 1.0 | mg | repair flaw | scratch on window – “we’ve got this handled…” | 2 |
| 01:09:01:11 | 01:09:04:20 | act 1.0 | mg | essential story A | j, “here, check it out” hypnosis, the CD light is playing on her face, he flashes it on her eyes and she blinks | 3 |
| 01:09:04:21 | 01:10:12:07 | act 1.0 | mg | essential story B | change laptop to army green, maybe camo colored | |
| 01:09:04:23 | act 1.0 | mg | essential story A | christina’s face is in the DVD reflection until he moves it. | 2 | |
| 01:09:23:09 | act 1.0 | mg | essential story A | the gerry picture could be more processed | 2 | |
| 01:10:13:21 | 01:10:23:12 | act 1.0 | mg | repair flaw | scratch on window – gut punch | 2 |
| 01:10:13:21 | 01:10:23:12 | act 1.0 | mg | repair production | extension cord in shot vertical corner, with gaffer tape | 3 |
| 01:14:27:22 | 01:14:42:18 | act 2.0 | mg | repair relight | long hallway, flickery reflections in picture in background of hall detract from the shot | 2 |
| 01:14:27:22 | 01:14:42:18 | act 2.0 | mg | essential story A | long hallway, dead birds carry contagion and other posters | 4 |
| 01:14:27:22 | 01:14:42:18 | act 2.0 | mg | essential story A | long hallway, red hall fixes abrupt reactions of c | 0 |
| 01:14:51:08 | 01:15:32:05 | act 2.0 | mg | essential story A | red hall – wires on steve’s door the trick, the door swings open (3 shots) | 8 |
| 01:15:00:09 | 01:15:24:06 | act 2.0 | mg | essential story A | red hall – christina at door (2 shots) | 4 |
| 01:15:32:06 | 01:15:36:07 | act 2.0 | mg | repair production | tape on the wardrobe at right of screen | 1 |
| 01:15:38:23 | 01:15:38:23 | act 2.0 | mg | repair light | in g’s cabin, g clicking light and brighter room | 2 |
| 01:15:52:15 | 01:16:11:21 | act 2.0 | mg | essential story A | in g’s cabin, where’s the pink shirt missing in all carmen close-ups near closet (5 shots) continuity here also, wrong closet door is open oh well. | 3 |
| 01:16:17:15 | 01:16:26:08 | act 2.0 | mg | repair production | tape on the wardrobe at right of screen | 1 |
| 01:17:04:17 | act 2.0 | mg | repair flaw | g close, can the transition be softened? | 3 | |
| 01:17:11:02 | 01:17:14:14 | act 2.0 | mg | repair production | tape on the wardrobe at right of screen | 1 |
| 01:17:19:03 | 01:17:34:01 | act 2.0 | mg | repair continuity | “tired of pretending” carmen can be seen bouncing in the reflection. | 2 |
| 01:17:34:02 | 01:17:40:12 | act 2.0 | mg | repair production | “we have to make love somehow” radio transceiver n thigh | 2 |
| 01:18:28:09 | act 2.0 | mg | repair continuity | can we remove christina’s hand from her face in the start of this shot continuity | 4 | |
| 01:18:28:13 | 01:18:31:03 | act 2.0 | mg | repair production | tape on the wardrobe at right of screen | 1 |
| 01:18:46:03 | 01:18:51:23 | act 2.0 | mg | repair production | tape on the wardrobe at right of screen | 1 |
| 01:19:00:00 | 01:19:18:22 | act 2.0 | mg | repair production | tape on the wardrobe at right of screen | 1 |
| 01:19:25:05 | 01:19:28:12 | act 2.0 | mg | repair production | tape on the wardrobe at right of screen | 1 |
| 01:19:28:13 | 01:23:22:21 | act 2.0 | mg | essential story B | bathroom, broken chemical glass and bottles? bathroom cabinet full of books? (12 shots) | 0 |
| 01:19:40:19 | act 2.0 | mg | ? | “we just have to” fix c nostril shadow | ||
| 01:21:08:15 | 01:21:26:05 | act 2.0 | mg | repair production | tape on the wardrobe at right of screen | 1 |
| 01:21:28:19 | act 2.0 | mg | repair light | g light switch illuminates area more | 2 | |
| 01:21:30:02 | 01:21:30:17 | act 2.0 | mg | repair light | gerry moved toward kitchen, the scene brightens to match when he hits the switch, must match the earlier scenes | 1 |
| 01:25:11:21 | act 3.0 | mg | essential story B | mediatronic pages – a cool security interface sequence, decrypt to joe’s warning | ||
| 01:25:11:21 | act 3.0 | mg | essential story A | mediatronic pages – minimum fix spelling of “their” | 1 | |
| 01:25:18:10 | 01:25:19:01 | act 3.0 | mg | essential story B | airplane hitting building on “joe?” | |
| 01:26:00:00 | all | mg | essential story A | label all boxes inventory | 1 | |
| 01:26:00:00 | all | mg | essential story A | label all boxes composite | 8 | |
| 01:26:38:19 | 01:26:41:09 | act 3.0 | mg | essential story A | change color of caboose in third shot, we have a release from the NJ train people. |
So 297 hours seems like a lot right? It is! That’s 24 twelve hour days – another month of full on focus. 5% of the tasks on this list are completed, that’s what I’ve been writing about the last few updates. So perhaps it won’t take so long. There’s also the possibility that as I get more experienced, my speed will increase. Again, time estimates are highly dubious.
Just for fun check the column labeled “specialty”. Tasks labeled “repair” are the result of where I screwed up on set – continuity, lighting, shooting. The reason I’ve labeled these is so later I can look at what percentage of this motion graphics work was needed to repair failures on location. How much time did it cost me to make these mistakes? What can I do to minimize these issues next time? It’s kinda exciting to think about…
So another month to knock off the motion graphics. Then what’s left? According to Stu’s order of operations I’ll be at step 7 of 10, color correction. As I discussed in an earlier post, my prior color correction work in Final Cut won’t translate to After Effects, so I’ve gotta start from scratch. That means purchasing a color corrector that will move between FCP and AE, Colorista. I can finish DOG with Colorista and use it on future edits too. I could use Apple’s Color which I already own but my initial research into this looks like there’s another steep learning curve that I just don’t have time for. By the way, I popped for the professional FCP to AE translation software, Automatic Duck. Results from the free utilities I was attempting to use were frustrating. Credit cards are feeling the strain, thank god for 0% APR.
The color correction could take a week or two (wild guess). I’ve got another 4 days of foley and a final sound mix somewhere, so let’s say another 2 weeks to wrap the sound.
I’ll be on the road in September for two weeks doing weddings and river trips, so that puts me at the end of October for the big finish. Then there’s the web site, legal approval, dvd duplication… So maybe snow will fly before these updates are complete. November 15, 2008 is our new (secret) release date. That’s only one month short of 2009
For your visual fix, I offer a recent youtube video featuring the illustrious Australian citizen Brad Robinson and myself, along with his nef and neez and the vocal stylings of various other mystery players. This has nothing to do with DOG but it’s kinda twisted and fun. Enjoy!
http://www.youtube.com/watch?v=3UcQXUQnMeM
Dan Kelly