Shadows of the Prairie

MARK SIMPSON 

VIVIANA DE GASPARI

“Shadows of the Prairie” picks up with a scavenger and his robotic companion on a journey to recover a stolen artefact from a remote location. Little did they know that they were not the only ones in pursuit of this valuable object. 

In crafting this film, our intention was to pay homage to the classical Spaghetti Western genre of 1960s/70s while infusing it with contemporary Science Fiction tropes. We took inspiration from Blade Runner 2049, The Mandalorian, and Sergio Leone’s Dollars Trilogy.

Colour Management

Colour accuracy and consistency play a critical role in ensuring the seamless integration between live-action footage and CG elements. To achieve optimal results and simplify the colour workflow, implementing a robust colour management solution became essential. ACES emerged as the obvious option.

As well as ensuring colour consistency, using an ACES workflow also guaranteed that we preserved the entire cameras dynamic range - making it easier to match CG to the backplate. Additionally, this allowed me to ‘push’ the grade more later on as I had more information to play with. I also hope to work on an HDR trim in the future.

Turntables

During the modelling phase, I utilised a range of techniques including mirroring, intelligent duplication, non-linear deformers, and topology caging to enhance efficiency and uphold a minimal polygon count. Subsequently, meticulous UV mapping using UDIMs and sculpting in Zbrush were undertaken, resulting in the generation of a high-polygon iteration of the assets. This high-polygon version served as a foundation for the creation of texture sets through the baking process.

More on Modelling and Texturing

The objective for the drone asset was to develop a non-weaponized unmanned aerial vehicle (UAV) with capabilities for flight, environmental scanning, and self-protection. To achieve this, I conducted extensive research on mechanical joints to enable the arms to be rigged for opening and closing, serving as a protective measure. Additionally, to enhance the overall concept, I conducted research on sci-fi drones and futuristic engine designs, incorporating their elements into the asset's design.

During the texturing phase, I applied a blue paint texture to ensure a visual coherence between the drone and the main character's attire. Furthermore, I incorporated emission materials to simulate the glowing effect on the engine and fuel storage components. In order to achieve a photorealistic appearance, meticulous attention was given to painting scratches, dents, dirt, and imperfections, drawing inspiration from real-life machinery as references.

Regarding the spaceship, I took inspiration from the aesthetics of Blade Runner 2049 (2017), Cyberpunk 2077  and The Mandalorian (2019). I modelled in the main panels and the heavier shapes, but resorted to texturing for the smaller, finer details. 

The texturing process was done in Substance Painter, which facilitated the addition of intricate shapes and details. These elements served to subdivide the main shape and establish the appropriate scale for the asset. While I manually painted the majority of imperfections, I leveraged Substance Designer to develop a procedural material. This enabled the creation of panel patterns, such as those visible on the front of the spaceship, in a systematic and efficient manner.

Compositing

To infuse a sense of vitality in the ships engine, I utilised expressions within a grade node. By applying an expression to the multiply function, I introduced random variations within an appropriate range. This approach added an organic and lively quality to the engine’s appearance, preventing it from appearing static and monotonous.

In the below shot the ship closely passes the camera, necessitating the creation of a lens flare effect. To accomplish this, I examined the shapes of lens flares, drawing inspiration from a Lens Flare Reference video by Compositing Academy. I also captured custom videos using the camera we shot the film on to further enhance the authenticity of the flare. By carefully crafting and blending the lens flare elements, I was able to recreate the desired visual effect, enhancing the overall realism and impact of the scene.

More on Compositing

Colour Grading

For the look, I drew inspiration from a combination of the looks of ‘A Star is Born’ and Kodak 2383 film stock often used in Hollywood, adding my own twist. To achieve this look, I used a mix of HDR wheels, curves, and printer lights. With additional effects such as glow, vignettes, film grain and colour to harmonise the overall visual style. Throughout this process, maintaining consistency in the grading was a key objective.

Roles

Mark's Roles included: Directing, Producing, Story, Cinematography, Tracking, Lighting, Rendering, Leading the Compositing, Editing, & Colour Grading.

Viviana's included:  Concept Art, Modelling, Texturing, Look Development, Rigging and Compositing

There are also more minor roles that we shared or did individually.

This is just a brief outline of the hard work that went into "Shadows of the Prairie", but we hope it gives you a sense of the process and how we tackled it. If you'd like any more details about the project or how we made it feel free to shoot us a message.

Thank you for reading and watching. Any likes, feedback or shares are greatly appreciated.