In the end of 2016, I had the chance to art direct for the show opening title of Netflix’s Gypsy. Seeing the main character’s life through refractions of iconic objects from the show, we were able to take the audience on a journey into the twisted emotion and struggle of the main character. I was also involved in the making of 3D previs, building the CG shots, and compositing. This piece also became my very first attempt to compositing in Nuke.
creative director: alan williams producer: aleen kim art director: max strizich designers: max strizich, henry chang, clint chang, sam alexander animators: max strizich, rick kuan, hogan williams, henry chang editor: jeremiah shuff compositors: max strizich, rick kuan, henry chang copywriters: bo bishop, loren schiller storyboard artist: wes simpkins head of production: aleen kim associate producer: meredith engstrom executive producer: jon hassell
Here are a few of the initial frames that I created to help kick off the project.
The title sequence went through many phases. To better explain those stages to you. Here is a side by side comparison video I created to show every stage we went through. Which are our initial edit version, Board-o-Matic, CG Camera Previs to many different versions we were playing with.
Our initial direction was heavily inspired by photographer Marius Budu. Then we started to combine iconic objects from the show and use them as devices to cast beautiful refractions. Also, look into possible textural treatment on those transparent surfaces to add more interesting compositions.
This work was done in the early days of GPU renderers. Given the nature of the element of glass in our visual concept, we decided to go with Otoy's Octane-Renderer. Using GPU renderer's fast real-time viewer, we were able to really see what and how things are being reflected/refracted in our scenes. These are some of the early tests done by me.
Henry Chang - 張亨利
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