Lien Fatal Project

Geoffrey Skrajewski
Gabriel Grenier
Guillaume Combeaud
Shed breaks down some 3D motion they did for a pitch, using Cinema 4D throughout the process. There are a million different ways to do the same thing, so it is always great to see how others choose to execute their project. This is especially helpful since they jump back and forth between final renders and Cinema 4D, so you can see the immediate payoff. 3D captures, dynamics, thinking particles, deformers and more, this project is sure to spark some inspiration!
The Concept

The opening credits showcases the different scenarios of the series. Through a rhythmic editing, camera operates in a rather dark and abstract universe where lighting sets reveal different tables frozen: a man handcuffed in an interrogation room, another man is holding a woman's hand, a person about to get hit by a truck, an abandoned telephone, face held silent by ropes. Through these Tablets, they often add links (strings, white lines that connect the objects).
Accompanied by music, the credits reveals a dramatic and mysterious tension, where everything seems connected.

The Production

SHED used the Kinect camera to film various scenes. This method allowed them to have forms of stylish basics to work, on which they then applied the look of filamentous tissue. The different tables are illuminated in a game of flooding and directional lights, revealing the important parts of the picture gradually.

SHED came up with the idea to use the Kinect to accelerate the modeling part of the project. It was a way to get 3D models of human and props faster than if you made them from scratch. Using the software Skanect, they got a pretty detailed mesh that they displaced into C4D to achieve the final look. Since the Kinect can’t caption long distant or close up shots , one limitation with it was to stay in middle-range compositions. This is why SHED didn’t put any macro or wide shots in their final edit. One interesting thing we found during the process was to think of the Kinect as a spotlight instead of a camera. We already knew that we didn’t want a complete mesh for the final look. We used the lightning direction to get what we want. For example, we placed the Kinect on top of an actor, knowing this would be a front facing shot. This whole method allowed us to give the filamentous tissue look that we wanted. The different tables are illuminated in a game of flooding and directional lights, revealing the important parts of the picture gradually.

Making of Video
Geoffrey Skrajewski Motion Designer
Gabriel Grenier Motion Designer
Guillaume Combeaud Motion Designer
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