post apocalyptic films

2001: A Space Odyssey, 1968, dir. Stanley Kubrick


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.  


‘Mad Max: Fury Road’ by Christopher Cox aka Changethethought Studio


Today’s mission: Break down and photograph all of the vehicle wheels, then turn the photographs into viable textures for Joanne Yap, who has kindly agreed to build some 3D wheel models for me.

The wheels have always been a tricky proposition. Originally, I planned to get eight or ten people to help me race RC cars in the desert. But then the cars started to weigh more, filming licenses started to cost more, and I realized that one ill-timed crash could send me back to the workshop for weeks.

What I’ve settled on is removing the practical wheels and then adding them back in with Element 3D. That way, the wheels can spin and stay independent of the body, while still tracking with the rest of the vehicle.

Riotmaker is probably going to have to stay in pieces until I get it updated to reflect the differences with the full sized bus. If you (yes, YOU) happen to have a 3D printer and be interested in a little modeling yourself, send me a message. I also need to produce six identical metal borders for the windows as soon as possible, and I will absolutely pay for materials and probably a bit more for your time.


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.  

the two most surreal things to ever learn in life are that imagine dragon’s ‘radioactive’ is, in fact, about the radioactive spider that bit spiderman, and that the original holes script was a gritty post apocalyptic film where stanley yelnats has to mercy kill his own sister