The big hump.

This is the shot that I've spent the most time on, mainly because I wasn't sure how I was going to pull it off. I had the original background image that I cleaned up, but I wanted the camera to reveal how big the Hypatia really is. After adding all the bunting and getting some needed advice from my friend Mark, I was able to come up with something I'm pretty proud of. I also really like the birds- they really give the scene some kinetics that make it feel more alive and not just a flat picture.

How would you like your own personal blimp?

This is a test I did to see how well I could blend a live action shot I did with an actress/steampunk named Cherie Savoie and the blimp I made for the first establishing shot of Boston. I think it turned out pretty well- Although at four minutes a frame, the sequence took 24 hours to complete. I would like to add a little rock and ease that stop a little more, but as a test, I think this looks awesome.

It's... brilliant!

I saw this flare in my presets and thought, this looks like the flares in Raiders of the Lost Ark when the Nazi's get it at the end, and used it. My friend Joe said, "if I were to make a machine, a light that bright would indicate somethings about to explode."

Yeah.

So, it's changed, but here's what it looked like before!

The Boston Commons. As a power supply station.

Yeah. I've been slogging on this shot for a while now. At last I'm ready to put a fork in it and call it finished. There are a number of additions I'd like to add, but the next shot is really big and I need to start focusing on that. Let me know what you think!

The telegram scene a little furthur along...

So yeah, here's the same scene a little further along. I've added all the people and the robot and a scene at the end showing the clock to give the shot some perspective. Those robots are going to figure in to the plot a little heavier than originally planned, so stay tuned!

Here's the latest test!

Establishing the look of the loading dock (and the final distress for the old film look) is what this sequence is about. It's still in the air, but now I have a place to go to.

The loading dock- it's really long and looks pretty cool!

So yeah, I started in on the backgrounds for the long haul. This is one of the ones from the "telegram" scene and once it's populated with people, I think it will look pretty good.

Another zeppelin for the background...

This represents the last of the throwaway models for the first (and most likely all of the) scene(s) that establish a Victorian Futurism for my film. I still have a few cars that are mostly built and I will show `em when I am done! I also have the Vasa to build. Eeeesh.

Two new pictures!

These are pictures of a throwaway model I made to add some movement far in the distance of the first shot of Boston. It goes about 15 miles an hour and is powered mostly by steam.

And done...

I added another shot, an extreme closeup to tell the story a little better. I also totally changed the end, so we no longer see Dad in the water. I think it works a lot better now!

An almost finaled sequence!

The only thing missing is the ship in the last shot. But I like the timing, Scott's expression before we cut to the wrecked hull is pretty awesome and I love how the burning ship turned out.

Transition to imagination!

This is an attempt to show how Mulvey's mind worked, even as a little kid. Here his imagination convinces a reluctant Fanny that maybe there's something to this whole moon thing.

The dying Swift. This is how the flashback starts.

I built the wreckage of the Swift based on a real ship, the Flying Cloud. At the time, she was the fastest thing afloat, and set a record for the trip between San Francisco and New York. Anyhoo, I spread the love between the fore and aft section of the boat, with a gaping hole in it exposing decks and ribs. I added some barrels and boxes and then set the whole thing ablaze.

Big Steam + Loading Dock = awesomesauce

Here's a render I did after I threw in some rudimentary animation on Big Steam No. 6. I can't wait to see him moving!

A couple of shots of the Hypatia for you!

I went in and retextured this beast, adding some spajadigits and what not. I also redid some of the maps and I am quite pleased with how the envelope turned out.

Here's the Hypatia coming towards camera. Like I said, overall I am pleased. I also like the new rigging, which makes it feel bigger.

The elevator!

 I realized I'd never actually made this part of the loading dock. I need a shot of the doors opening up and Glowerston exiting, so I put this together. It is also going to be kind of important to all the shots where we are looking this direction.

I really like this one. Oh, that sign way in the back says "no spitting."

Where's Fanny?

Another shot from the film, this one involved a lot of roto'ing and even a flop of Chris. Originally, he came in from the other side and I had to make everything work.

Success!

It works!

This is the first mostly complete shot I've done. It's for the trailer and has a ton of awesome innuendo- it was a lot of fun to shoot, and even more fun to finish off.

Big Steam number 6

I know it's been awhile since the last update- I got done with the shoot, and started editing and then I got assigned to a new show with tons of OT. Ah well. Here's some pictures of a labor automaton that Mulvey invented. There will be several of these guys loading the Hypatia in the prologue.

Enjoy!

Blimp!

This was a matchmove from the day of the shoot. I'm putting our lovely actress into the third shot of my film. She'll appear at the end of the shot as we're looking at the Glowerston aeroport.