Motion

State Zero

GMUNK 8 R.V. 8 P.T. 8 V.M.H. 9 J.M. 9 M.P. 7 G.R. 8 F.A. 7 D.B. 8 A.J. 8 Creative 8 GMUNK 8.5 R.V. 8.7 P.T. 8 V.M.H. 9 J.M. 9.5 M.P. 7.5 G.R. 9 F.A. 8 D.B. 9 A.J. 8 Design 8.5 GMUNK 8.5 R.V. 9 P.T. 8.4 V.M.H. 9.5 J.M. 8 M.P. 7 G.R. 9 F.A. 9 D.B. 9 A.J. 10 Craft 8.7 GMUNK 8.3 R.V. 8.6 P.T. 8.1 V.M.H. 9.2 J.M. 8.8 M.P. 7.2 G.R. 8.7 F.A. 8 D.B. 8.7 A.J. 8.7 Total 8.4
In the near future, the capital of Sweden has turned into a post-apocalyptic wasteland. We join four soldiers on a routine mission in 'Zone 3', with the assignment to investigate an old surveillance tower that just went offline.
The Concept

While working as a concept artist on Star Wars, Andrée Wallin felt the desire to create a story of his own while also having the creative freedom to do his own take on some of his favorite subjects: science-fiction, vampires and a post-apocalyptic world.

As the story started forming, Andŕee took turns between writing the script and developing concepts and key-frames.
native of Sweden he was also compelled to find a new setting for his post-apocalyptic world and chose Stockholm which provided a fresh location for a well-established movie genre.
Andrée drew help from some of his colleagues from Star Wars and tasked fellow concept artist Matt Allsopp with designing the soldiers transport aircraft dubbed the Wasp.
Andrée felt inspired to do a different rendition of vampires than the one most present in today’s mainstream culture like True blood or Twilight, one with more animal-like traits, playing with the idea of humans turned beasts bearing traces of their former self.
The soldiers and their gear were designed with their defense against their primary enemy; the vampires and their animal-like behavior in mind giving shape to technology such as the UV-light suit and the anti- vampire gas-grenades.
The Production

The first-time director Andrée Wallin’s short film, who also wrote and production designed it was produced by Claire Fleming, the film was shot in London with an international cast, while all exteriors were shot in Stockholm. The VFX is done by Bläck

With locations, cast and crew assembled the team began filming at Maidenhead and Reading in Berkshire, UK together with DoP Peter Batten using the Arri Alexa recording Prores 444. The shoot lasted 4 hectic days and involved up to 25 people.
To capture some of Stockholm’s most characteristic landmarks providing the base for the movies epic matte paintings. Björn employed his custom built UAS 1B-543-2 Heli-cam mounted with a Black Magic pocket camera shooting RAW. The Black Magic camera was also used to capture still and moving images to make up a large library of assets that could be shared between shots to add foliage and other elements to the environments.
For the vampires Andrée had made a concept painting that was then handed over to lead character artist Jonas Skoog who refined the design and sculpted and textured the models using Zbrush, Mari and Substance designer.
The character setup was done in maya and featured a muscle system to handle larger deformations and wrinklemaps driven by blendshapes for smaller deformations such as the face.
Shading and rendering was done in Arnold and simulation handled in Marvelous designer.
During the mo-cap shoot completed at Imagination Studios, the team captured the vampires located in the ceilings and also matched the performances from set to replace the discarded live-action takes of actors in make-up. The animation was then edited and and adjusted using Motion builder and Maya.
The Wasp aircraft was a joint effort between a multitude of artist beginning with 2d concepts by concept artist Matt Allsopp which were then further refined by well known hard-surface 3d designer Gavriil Klimov.
The model was then prepared for production and passed on to Bläck who rigged, shaded and finalized the asset. For this the team used a combination of tools including 3ds Max, Maya, Mari and Houdini for FX such as the jet engines.
Bläcks 2d lead Peter Blomstrand developed the HUD around a kind of sonar system that could scan the environment of obstacles in the terrain and also be able to find heat signatures from creatures such the vampires.
He incorporated the idea of a GPS based system where known locations and objects could be displayed in the form of locators and text callouts. To achieve this effect, Bläck used aerial plate photography that was 3D tracked and imported as a pointclouds. Custom camera moves could then be created inside Nuke and a light with a sweeping motion was cast over the pointcloud to get the effect of a sonar scanning.
The elements making up the HUD are inspired by instruments found in real jet fighters and drawing upon his own aeronautical interest Peter incorporated indicators complementing the sonar system such as a speedometer, checklists, navigational instruments, maps and sights for the Wasps weapon systems.
From the large amount of source material gathered by during various shoots the team started producing the matte paintings depicting the post-apocalyptic Stockholm using Photoshop.
These were then layered and projected on to geometries in Nuke and moving footage of shrubbery and foliage was used to add life along with particle systems of small insects for final effect.
The production was finally graded and mastered at The Chimney Pot by colorist Oskar Larsson using the Nucoda grading system.
Final
Client
Andree Wallin
Credits
Andree Wallin Director/ Writer/ Co-Producer Claire Fleming Producer/ Art Director Peter Batten Director of Photography Calle Ganstrom VFX Supervisor Peter Blomstrand Editor
Tom Olsson Executive VFX Producer
Annika Torell Osterman Executive VFX Producers
Peter Levin Executive VFX Producer
Mark Lundy Military Advisor
Christopher Vincent First Assistant Director
Matt Allsopp Lead Concept Artist
Georgina Millet Graphic Artist
Jonas Ekman Animation Supervisor
Henrik Eklundh Tech. Director Supervisor
Jonas Skoog Lead Character Artist
Viktor Andersson Compositing Artist
Peter Blomstrand FX/ Compositing & 2D Designer
Calle Gramstrom Compositing Artist
Max Oberg FX Technical Director
Daniel Axelsson Lead Texture Artist
Anneli Larsson 3D Artist
Pontus Garmvild VFX Coordinator
Valentin Sorokin 3D Artist
Andrew Hutchinson Motion Capture Animation Manager
Samuel Tyskling Motion Capture Supervisor
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