I’m currently doing the sound-design for the Audio Drama: picking music tracks from the track library, tryin to figure out what ambience and sound effects to use, and moving the voices into scenes.
Our show doesn’t really have a single star. Instead we have an ensemble of several colonists, each of whom gets their own stories. But we also want to get them together as for ensemble moments, like this scene of the two main families having their first meal together on the Moon.
During the Apollo era, Walter Cronkite, the famous TV newsman, told a story about interviewing Neil Armstrong. He had asked him what he and Buzz Aldrin would do with their last hours of life on the Moon, should the Lunar Module Ascent Engine fail and strand them there. He was hoping, he said, for some poetic response about doing a last experiment for the benefit of Mankind or contacting their loved ones back on Earth. What Armstrong actually said, though, is something any one of our major characters in Lunatics! would understand implicitly: “Well. I imagine we’d be working on that engine.”
We’ve sent out some press releases for the Kickstarter. I’ve also posted an update about the non-photorealisti visual style and how we hope to render our characters in the final production (or at least what some of our options are).
There are several factors we have to balance in coming up with a style of animation and rendering for “Lunatics!” You might think that 3D animators should always try for maximum realism (“photorealism”) when making animation, but this is not necessarily a good idea. First of all, the human eye is extremely good at spotting errors in photorealistic renderings and especially in animation. This is the basis of the problem known as the “uncanny valley effect”: if you have extremely photo-accurate models and renderings of characters, then even the slightest error in movement creates a disturbing “creepy” effect. Such animations are often described as “zombie-like” or “doll-like”. This is because we are very sensitive to tiny differences in the way real people move.
My latest update gives some insights into the process we followed to get to the pilot episode script as we started producing it. Also a bit of relation to the original short stor and the rest of the series.
The path we took towards the concept for the pilot episode was pretty convoluted. It arose out of a number of constraints we were trying to deal with when we were planning to launch the “Lunatics!” series. Both “No Children in Space” and “Earth” are drawn roughly from Rosalyn’s original short story, “The Arrival”.
I’m doing some production math today: created a list of every single shot in the pilot episode – there are 393 of them, omitting a few repetitions. For each, I listed all of the 3D model assets used. Then I wrote a little Python script to pivot this table and create a list of all 3D assets with the shots they appear in. There are 254 3D assets listed, ranging from the character “Georgiana” (118 shots) to the prop “Vegetables-Various” (1 shot).
Rosalyn Hunter recently wrote an initial draft of the novella version of “No Children in Space” as part of NaNoWriMo. We’re planning to offer print and e-book copies as part o our upcoming crowd-funding campaign. Here’s a couple of brief excerpts from the story.
