http://www.vimeo.com/24723686
When we arrived at this concept in the first creative meeting, we just knew we had to do it. But as excited as we were to take on the challenge, we also knew we were stepping into something we hadn’t really done before. We would need to create illustrations and then composite them into live-action moving-camera footage. Here are the steps we took to get from concept to creation.
Pre-visualizing
A project this complex required a lot of people to be involved. The more people involved, the more effort I had to put into making sure everyone was seeing the same video in their head.
To get us going, we found inspiration from already existing works. We said we really liked the feel of this: http://www.vimeo.com/14766975. Except we wanted stuff to be popping out of the book more like this: http://www.youtube.com/watch?v=-g4kO9cEvUQ.
I’m terrible at storyboarding, but I forced myself to sketch out the shots. They were primitive looking, but a very helpful resource for making sure the special fx artist, the illustrator, and the DP were all on the same page. Feel free to make fun of my drawings.

Timeline
Once we knew all the moving parts that were involved, we had to divide out the available time into several intermediate deadlines. I had to schedule deadlines for the illustrations, a shoot date, a rough edit deadline, rough special effects deadline, and full composite deadline.
Production
Brian Bascle did our illustrations – this guy is a freelance artist who consistently nails it for us. All I had to do was send him detailed descriptions of the five scenes, and a little over a week later he sent me layered psd’s of his sketches.
While the illustrations were being worked on, I scheduled a shoot with Whisper Productions. They did the example video I linked to above, so working with them enabled us to start a couple steps beyond where we would start with anyone else. They use a RED ONE camera, which is capable of capturing the cinematic quality we were looking for. It was just a matter of casting the little girl, using interns to hunt down props, and deciding on a location.
In the meantime, our special effects guru, Taylor Cox, sent me a proof of concept with one of the first illustrations composited into a picture of his desk. He used 2D models in Cinema 4D to create realistic lighting and shadows. Brilliant. It was when I saw this that I started to feel really good about the project.

Post Production
So on one hand we had lots of shots of a little girl flipping through the pages of a Bible. On the other hand we had a handful of illustrated scenes from the Bible. It was time to put them together.
After finding just the right music track, I did a full edit by trying to imagine where the special effects would be. Some shots would likely change, but at least it was a starting point for Taylor to begin compositing the illustrations into the footage. It was at this point that I took a step back a let Taylor work his magic.
The timeline for the project allowed the most amount of time for this step. Taylor had about a week and a half to make it all come together. Between After Effects and Cinema 4D, he modeled, rendered, animated, motion tracked, added glows and particles, and color graded this behemoth across the finish line. I’m going to keep it light on the technical details for this post, but if you’d like to know more about any part of the process, leave a comment and we’d be glad to walk through the nitty-gritty.
Tue, Apr 17, 2012
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