Untitled by Rachel Levy
Via Flickr:
Canon FTb Fujichrome 50D Cross-processed


Hey all, so I made a film this semester! It was supposed to be a 30-second film but I went a little overboard. This was a lot of fun to do and I’m pretty happy with the results. Featuring the wonderful tunes of @everydaylouie, thank you for letting me use your music! Anyways, hope you all enjoy!


Checking my work with concentric circles.  I nailed it on the MacMurray wheel, but the rest have required some minor warping to get them to fit.  In all likelihood, these won’t be the final textures, but I wanted to make sure everything was centered and circular so they can provide a good starting point.  

A couple of fun costume things that I learned (or relearned? it has been a long time) whilst checking things for the Fashion of Nemesis post, but couldn’t find space for:

  • Iain McCiag’s original intention was that Maul wore feathers on his head, attached to a wire. The act of wrapping the feathered wire around his head was to be a meditative act of self-flagellation, each feather having to hit exactly the right point or he would have to start over. The design, when passed on to the creatures department, was interpreted as horns, and that’s how we ended up with the spiky zabrak we all know and, uh, know today. 
  • Maul’s markings were created in a frustrated accident of spilled ink, and were developed and finalised through experimental rorsharch-like ink blottings.

Iain McCaig, The Art of Star Wars The Phantom Menace

This sketch also demonstrates the original ‘muscle suit’ costume before it was decided to more directly mirror the Jedi costumes, and design something more sympathetic to movement and combat.

  • Maul’s one piece of bling, an earring in his left ear, was never a part of his character design. It was Ray Park’s own, and he was wearing the earring when he sat down in the make-up chair. Hours later, when he stepped in front of the camera, it was still there and wasn’t noticed until it had been shot on and established. The earring stayed for the remainder of the shoot, and Maul has stuck with this one concession to fashion all the way through the Clone Wars to rebels. Despite its constant presence over 20 years, it has never been given an explanation or backstory. Maul just really likes it, ok.

Process (2017) Directed by Kahlil Joseph

black panther set in korea!!!!! not pictured are prop vendor stands and smoke machines that might be involved in some sort of explosions during a car heist?? we were told to go inside the buildings because it’s a more dangerous shoot with debris involved.

edit: car CHASE, not car heist. christ i don’t know where my brain was when i made this post


It’s been a while since I film one of these. I hope you enjoy it!!

Made with Instagram

Working on the Beverly Holes virtual set.  This is the back half of the “skeleton in a chair” shot.  We go through the door and out into the streets of what was once Beverly Hills.  The final shot will be about a minute long, and includes a third piece I can’t shoot until I get the cockroach puppet.

As a general rule, I’m not a fan of flying cameras.  But since this shot is bringing you into the world and introducing you to one of our main characters, I wanted to do something special.  And maddeningly complex.  Because I’m dumb like dat.  

I couldn’t figure out a good way to get the shot I wanted with practical effects.  The camera has to cover too much distance, and in my driveway, I couldn’t get low enough to the ground to be eye-level with the hands coming up (seen here as a placeholder).  So I filmed the background buildings in my living room so I could lock down the scale, and planned to use camera tracking to weld the other elements into the scene. 

Unfortunately, the camera tracking kept slipping midway through the shot, and it looked really not okay.  I decided to scrap the live action footage but keep the live action camera move data.  So now I have a 1/32 scale hand-held “drone” camera move through a 100% virtual set.  The third picture shows a side view of the  set.  The universal axis is tilted slightly for some reason, which makes snapping pieces together less fun than it should be

The set itself is the equivalent of a Photoshop matte painting, but in 3D.  Not CG-3D, but sort of like a house made of paper cutouts.  This is a fat, fat shot with lots of pieces and lots more to come.  Fortunately for me, it’s probably the most complex effects shot in the film.  I’m sure I’ll regret saying that at some point.

It’s got a ways to go.  I’m just finishing blocking out the big shapes, and then it’s on to detail, blending everything together, and a whole bunch of hands.  


nap by Shoji Kawabata. a.k.a. strange_ojisan
Via Flickr:
LC-A+ KODAK E100G 35mm

Watch on

i sculpted a miniature version of the season 1 opening for good mythical morning!!!!! it was really fun to do, and this is the first time ive ever filmed my process so.. i hope… u like it….. (i also posted it on twitter where the quality is way better, if you want to give it some love there!!!!!) :D


12.7.2016 | A Bittersweet End to the Semester

At long last, I have a full animatic. Phew!

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