Final Major Project
Pre-production
At the start we all knew that we wanted to do a visual
effects piece. The difficulty was determining what we wanted to do and as there
were quite a few in the group, it was difficult to make a decision. I wanted to
do a futuristic city or space ship, or three different shots in different
environments. Therefore I undertook some research into spaceships and
futuristic cityscapes.
My research ideas
These are different styles. I prefer the idea of ‘destruction
in the future’ rather than an organised and squeaky clean style. I especially like
the idea of a dark and grimy future.
This is what I envisage about of the future and what types
of things that I would incorporate if I were to do this sort of scene.
Glass screen technology: I would like to incorporate technology that could be possible and looks more realistic. It makes use of ideas that we know may well be feasible and means that new concepts do not need to be invented.
Flexible screens:
another new technology that could be incorporated into futuristic shots
An example of glass screen technology being used in Iron Man
Prometheus: this is the way it should be done. I like the effects and the way the matt painting is accomplished and the way it has all put together.
Star Trek: the idea of a space ship crashing with dirt being projected up
originally one of my ideas was to have a flying cat chase
scene. The group decided against this as it has been done so often.
Many of the effects using glass screens can be relatively
simply achieved using Aftereffect that enables futuristic scenes to be more
interesting and vibrant.
Troll/ creature in the woods Idea
Others in the group wanted a consistency in the shots and
thought that something like a robot had been done too often before. We had also
done a robot in year 2 project. Kamil had the idea of a troll/ creature in the
woods so as a group we decided to go with this idea.
Troll research:
Woodland research:
I researched different woodlands to harness the atmosphere,
colour, and shapes of the trees and undergrowth. Some of the pathways looked
more man-made. We were not sure if this was going to be an issue or if we would
to have to find places where there were no man-made objects.
In our story the original idea was to have people chopping
down the forest, the troll/creature being the protector of the forest who
becomes disturbed and angry, being hit by a truck, then picking up and
destroying the truck.
This fist image is of a rather evil troll, but I do not
think that this is what we want to portray. The second image of a chimp shows a
more relaxed creature and I like the way that chimps swing through the forest
from tree to tree. The type of movement we decide upon will make a difference
to the form of the creature, how it moves and how it is rigged.
These sloths are slow and are camouflaged because of the alga
that grows in their fur. However as they are slow creatures they may not be
suitable unless adapted to move faster.#
This is troll from the recent film Snow White and Huntsman.
Originally our troll was similar to this, protecting the forest, then becomes
quite violent and angry looking. I like the form of the troll being part of the
environment with rocks and tree roots on its skin.
This reminds me of golem, so I further researched these
creatures. Unlike a troll these creatures are made from the environment by
incorporating rocks and earth. In my mind the protector of the forest could be
hiding and look like this. By this stage our story had developed and instead of
throwing the truck the troll/creature was trying to mend the damaged trees and
was a more peaceful character.
I feel that if troll character is hidden it could be made of
rock with organic material creeping out of it. These rock golems could be
camouflaged and curled up, with a tree growing out of its back. This could lead
to some good character designs.
This is a picture I found which it is more friendly, earthy
and man-like, having been made of wood to blend into the forest surround. The
story was changed again and by this time and the troll/creature was just a
keeper of the forest, and the last one left. He is no longer a violent
creature. This was more the type of creature that we wanted.
The above area was my contribution to the initial research.
From this and the group research the following initial concept designs were
made (artwork by Erwin).
The concept artwork was excellent and it was the start of
our project development. I liked the woody, earthy and organic design of the
troll.
Filming Locations
We needed to find a realistic location for filming. Although
I knew of some areas close to home it had to be a location that everyone could
easily reach; which did not have too much human influence or where human
influence could be avoided (but still easily accessible). Dan found Keston
Woods in Bromley. The woods were easy for all of us to reach and they were not
too busy, so we were able to work around local dog walkers etc.
In early October we took an initial trip to the woods to have
a look around and determine what we would need for future filming. Kamil took
samples of plants for working out textures. From this we started thinking more about the
details of the story and assets
that would need to be built for the film.
Below are some images
of Keston Woods taken on our initial visit
Guled took some test film for tracking. We realised that a
wide angle lens would be needed for some of the shots. Some photos of various
locations were taken within the woods to determine where filming would be most
suitable.
We presented our idea to Mike and Dan to approve the go
ahead with the project. They liked the idea, the concept art and story boards.
This meant that we could carry on with the project.
Below is the story
board for our project this was done by Erwin and Derek
Texturing
I
helped Kamil obtain some of the textures ready for texturing the paint effects.
To help Kamil, I cut out some of the leaves. For each leaf I
had to take the leaf out from the image on both sides, and then neatly cut the
leaf out to create an alpha channel (see below). Using Adobe Photoshop I cut
out the leaf from the background to create an alpha channel. The next step was
to import the other side of the leaf, flip the image, match it up with the cut
out image and erase the background from the remaining side. Only then will you
have a whole leaf textured both sides.
Above: the top of
this image includes some of the cut out textures; while the bottom of the image
shows some of Kamils final paint effects
HDRI (High-dynamic-range imaging)
For our lighting we decided we required HDRIs, so Dan and I
did this together. Because of my experience in photography (see Professional Practice and my equipment)
I was heavily involved in this part of the project. HDRI is when you take
multiple exposures of each area to give you a light, medium and dark image of
each area (bracketing), which then can be merged together to get a precise
image for lighting purposes. More exposures can be taken for each area but we
did not have to do this because of the lens we were using.
Usually to take an HDRI image a fish eye lens would be used,
but we did not have access to a fish eye lens at the time. The fish eye lens
gives a lager field of view with a complete 360 degrees in about 16 images (as
it is necessary to do a complete 360 degree rotation with the camera facing at
about 45 degree angle down and again a complete rotation with the camera at 45
degree angle facing up). As I did not have a fish eye lens the number of images
I had to take to achieve this was much greater.
It took 24 images just to do one 360 degree rotation, excluding the
angles that needed to be included both up and down (with these angled shots and
the different lighting it took 216 images per HDRI).
Whilst we were testing these shots we realised that the HDRI
worked better if the camera was mounted vertically. As I did not have a tripod
with a panoramic mount, I had to workshop build one ready for filming. Dan used
PTGui to stitch all the images together.
I am pleased with the result of the HDMI. However it is a
pity that so many photos are required to produce one final stitched photo
image. The HDRI are useful for applying lighting to scenes and for reflections.
Above: this is the
custom mount that I made to take panoramic shots
It is also possible to use any shiny sphere to produce an
HDRI. I used two large steel ball bearings. One with a slightly roughed surface
and the other mirror polished. They worked well but were rather small so the
other alternative way of producing an HDRI was the better option.
Filming
It was my responsibility to obtain all the equipment ready
for filming. We had already established that a rig would be needed for my
camera so Guled had the forethought to order one. After our initial visit to
the forest it was decided that a wide angle lens would be needed along with a
tripod, walkie-talkies (as our phones did not work) and my mountain board acted
as a dolly. We found that some things needed to be modified (for example the
rig needed to be stabilized with weights).
Above: the weighted
camera rig
Equipment List:
1.
Canon 550D DSLR camera
2.
Sigma 28-300 mm 1: 3.5-6.3
3.
Canon 10-22mm 1:3.5-4.5
4.
Canon 18-55mm 1:3.5-5.6
5.
Canon 50mm 1:1.4
6.
SD card 32GB and 16GB
7.
Spare camera battery
8.
Remote camera remote
9.
Walkie-talkie sets
10.
Blu-Tack
11.
Magnetic stick
12.
HDRI balls
13.
Tracking tiles
14.
Sticks as tracking markers
15.
Clip board with pens, paper, maps, white board
16.
Panoramic mount and tools
17.
Tripod
18.
Stabilizing rig and weights
19.
Camera bag
20.
Mountain board as a dolly
21.
Tape measure
Big bag for all the equipment
This is all the equipment that we used for filming. We soon found
it quite easy to determine what we needed. It was not too difficult to adapt
and modify the equipment ready for use. I made sure that we had spare batteries
and SD card; plus made sure everything including the walkie-talkies was charged
the night before filming. We could have had another battery for the camera as
back-up, but we managed to film all day, although by the end the two batteries
were drained.
Production
Filming
To produce our shots we had to determine where the troll
would be. We used a tape measure and focused up to the correct spot. We
dispersed tracking markers where necessary. We used the correct lenses and
noted down all the camera settings and used my phone app. to take light
readings. The filming went quite well. We went on a number of different
occasions under different weather conditions (including snow) to obtain shots
and films in the different seasons.
The DSLR is very good for still shots as you have a choice
of different lenses but it is not designed as a film camera. However, it will
take slow moving panning shots quite well.
The camera is not the best for moving shots as it tends to blur quite a
lot. It would have been better to have a proper film camera, which would have
improved our final filming quality.
The stabilizer did not work that well as we were not used to
using it and the ground was uneven which made it doubly difficult. I think a ‘flycam’
stabilizer would have been a more appropriate piece of equipment. The mountain
board was difficult to use as a dolly as the ground was uneven, so it was
rather jerky. It would have worked well if the ground had been smoother and
flat.
The post-it notes did not work well as tracking markers as
they were rather small, difficult to see when the camera blurred and the colour
we had did not stand out well against the background vegetation. However the
tiles that Guled had brought along worked much better as they were larger and
had more contrast with the background.
I could have produced better results with additional prime
lenses but we had to work with the equipment we had.
Above: the photo
images show how the prime lens has better colour and depth of field. It is
therefore an advantage to use this type of lens for filming
To achieve our goal of getting shots over different seasons
we had to film at different times of the year. The winter was unusually long
and harsh, so although this enabled us to get snow shots, we had to wait longer
than anticipated for our spring/summer shots.
Above: the images show
the different seasons used in our filming
For filming, a rate of 25 frames per second at 1080p
(1920x1080) was used, which is normal for the UK.
Test Filming
When filming many panning shots would be taken so I thought
I would experiment with some different shots at various angles.
I filmed low to the ground and pushed the camera into the
bushes and foliage just like a small creature would see when running along
close the ground. I thought that this
was interesting and effective. I decided that it would be very useful in this
instant for the project, but it is always important to see what effects can be
achieved by experimentation.
I also filmed myself walking with the camera and the effect
was for the environment to appear to be moving while I was stationary. I liked
this effect but again I did not think that it was feasible for the project.
I thought it would be interesting to get a trolls height perspective,
so I extended my tripod to a maximum and held it as high as I could. I was
pleased with this effect from a troll’s eye view. The group liked this idea and
we are going to try to incorporate this idea into the final piece.
Post Production
One idea was to have dead skin hanging from trees. For this
I researched into nCloth which is in Maya. I looked at the basic processes of
balls dropping onto cloth, making it stretchy etc.
Ball bounces on fabric
Fabric stretching between two blocks
Particles sticking to an object
I started to do these tests but the idea was not continued
as the troll did not have skin but in the end was more wood-like. I have now learnt
some basics about this the problem with nCloth is that once past the basics
there is a large amount of scripting, which I would also have to learn. It was
interesting to change the parameters and see how this affected the cloth. I thought that the cloth falling over the ball
was effective and if this is the level that is required then it could be a
useful tool. I was pleased to have tried these tests as I may want to use
something like this in the future.
Tree Branch Dynamics
From the start of this project I was always worried about
the troll moving through the forest as it would probably hit a branch along the
way, which would then move in response to touch. So I started looking into
object collisions using nCloth. I tried a number of tests and managed to get it
working, but the bending of the branch/leaf was not very convincing. It tended
to bend more like rubber than flex like a branch. It was difficult to change
the parameters to make it look as realistic as I wanted it to.
Leaf bending was no too bad and may look OK for a small
object. However the effect on the tree was not at all convincing as the whole
tree moved which looked un-natural. I then tried to make the trunk solid to
prevent this happening, but this stopped most of the movement of the branches.
Tree bending
I had a looked at Avatar and was surprised that there are
very few times when the avatars interact with the environment.
Footprint
Above: some examples of footprints in different
surfaces
Above: a footprint of one of the ents, from Lord
of the Rings
When filming I took photographs of the different surfaces as
the footprint would be different depending on the surface and weather
conditions.
Above: examples of different types of surfaces on the forest floor
I also filmed myself jumping into mud to look at the
footprint, the effect on the ground surface and to see the interaction between
the foot and the surface.
Slow motion of jumps into different surface
types
In addition to this I
also filmed myself walking in the snow at a low angle.
Walking in the snow
Ways of producing a footprint
I used Maya to create the footprint shot. The first way I
tried to produce a footprint was using collision for the foot to collide with
the ground and leave an indentation. The first problem I had is that it did not
leave a very realistic impression as it only pushed things down with little
detail. In reality some of the surface squishes up as the foot goes down. The
mesh would sometimes catch the foot and pull along with it, and I could not
find a way to fix this. I therefore tried other methods to create the
footprint.
Next I tried displacement map. This worked quite well but I
could not continue as the plane ended up moving up instead of down, rather than
the footprint causing a downward indentation.
I made this displacement map quickly from an image on the
internet to see if it was a possible method. The image on the left is the
displacement map from the one of the prints from the right image. I searched
for a long time on how to fix this but I just could not find how to invert the
effect. The map itself worked quite well
and perhaps I could use this method in the future.
Displacement map
The third method I tried was blend shapes. I found a few
tutorials that morphed between different shapes and I could possibly use this
as a means of making a footprint. Using the sculpt geometry tool, I sculpted a
number of stages as the foot came down. then blended between the shapes. This
method was quite effective and provided much more control. It leads to a better
overall effect.
I also tried to add some other aspects as well. I wanted to
add particles falling off the foot as it was lifted off the surface. I created
three different particles spawners. These spawned at different times to create
a random effect, as they were spawned at random in different sizes and
rotations. I did not really like this after I had done it, and looking at the
surface, it really did not look as if these particles should be there. They
also did not fall naturally, so in the end I did not include this.
Footprint with particles
Basically the 3D footprints were not going at all well, so I
attempted to do a 2D footprint in Aftereffects. So I just darkened the surface
to look as if a foot had been there, but I felt that it was not really that
effective.
Footprint made in Aftereffects
In conclusion the footprint was a nightmare. In the end it
is probable that this will be cut as the texture on the troll’s foot is not
good. This has been a highly challenging and a time consuming part of the
project. It is always difficult when you are not rewarded with a successful
outcome after so many struggles. However in retrospect it has been a useful
learning curve and a valuable lesson that things do not always work out the way
you wish. However, I have learnt about particles, displacement maps, blend
shapes and the sculpting tool. These may well be useful in the future.
Frame rate problems
By the end of term 2 when compositing one of the shots
together there was a problem with matching them up. I realised that the frame
rates on some of the tracked shots were 24 and not the required 25 frames per
second. This caused composited CG
elements such as the troll sliding relative to the ground. This meant that some
of the shots had to be re-tracked. In the future it is really important to
check the frame rates and make sure that they are always consistent.
Tracking Point Removal
All the tracking points needed to be removed from the
footage. I used Silhouette FX and Adobe After effects to remove the tracking
points. I found the easiest and quickest method of removing tracking points was
using Silhouette FX and the scratch filter in the effects node. The scratch
filter works by blending either side of the mask that you have created. It does
not work well for large objects but is good for tracking points. I would create
a mask around the tracking marker, and then use the tracking tool to track the
tracking mark. This saves moving the mask over every frame. As now there is a
mask over the tracking marker in every frame so I just have to apply the
scratch filter, play with the settings, add a bit of feather and it is done. However,
there are limitations as it is really only designed to remove scratches from
film. It only blends from left and right, so it cannot be used to blend up and
down.
I used Silhouette FX to remove the tracking point, and the
scratch filter worked well.
Tracking
point removal 2
I used Silhouette FX to remove the tracking points and the
scratch filter worked well. There are many obvious tracking points but they
have all been removed very effectively. I was so pleased with this that I have
included it in my show reel.
Tracking
point removal 3
On this clip I used my own patch method, and although it is
more time consuming, the result was highly effective.
The second method I used was my own idea, although I am sure
that other people have also discovered it. I call it the ‘patch method’: I take
a single frame from the film in Aftereffects. In Photoshop the tracking marker
is removed using the patch and clone tool. Then the appropriate section is cut
out that is required to put on top of the tracking marker. I made sure the
frame was the same resolution by applying alpha to the blank areas. This meant
that the patch sat in exactly the right place on this single frame. It was then
imported back into Aftereffects, and I would track the tracking marker as
before applying the tracking data to the patch, blending the patch, including
motion blur so it fits nicely into the scene (job done!). However, some
problems with the tracking data did occur because the camera blurred, so these
points had to be sorted by hand.
Masking
I used Aftereffects and Silhouette to accomplish the
masking. I used Silhouette for the longer shots and Aftereffects for the
shorter shots as it was not worth the effort importing into Silhouette. For some
of the more complex masks I got Dan to render out a matte pass of what I needed
in Maya to make the whole process quicker. In Aftereffects I applied the luma
matte and it excludes the troll from the tree.
For still shots I created a matte using Photoshop. I would
go over with a pen tool and neatly draw over the matte. The edges were then
‘feathered’ for the best effect possible. This method was used for a number of
scenes.
Above: I
made this matte in Photoshop. Although it is being used on a video the shot is
so still I could use a still image for the matte
Below: This matte uses the same principle, but it was easier as the whole composition was built on a still frame.
Compositing and last effects
Guled did most of the compositing of the 3D layers in Nuke.
I had to finish them off by adding the masks and other little effects such as
camera shake. The shrine scene was the most complex as I had to mask out the
bracken around the trolls legs and feet. Even though it was a still shot it was
difficult to distinguish the bracken and leaves, given the quality of the
image. I managed to cut a few pieces out; then copied, pasted and edited them;
then applied them over the top of the troll.
I should have taken photos of the bracken so that I could have done some
matte painting. In the end I think the effect is OK, but now I know that I
would do it using a different method another time.
Breakdown of shrine scene
This scene is where the troll sees the dead hand on the
ground for the first time. The original scene was rather sparse ground, so I
was given all the components including bushes to composite into the final shot.
I undertook some more compositing for the group of things
that were to be included in the background. In the first example the troll is walking
towards the camera and I had to add the bushes. In the second example I masked
around the tree. Both these scenes used simple masks in Aftereffects rather
than using Silhouette FX.
Troll walking towards the camera
Troll lifting the tree
Camera Shake
When the troll walks towards the camera Guled had the idea
of the camera shaking. So using Aftereffects I pre-composed the scene and used
the wiggle tool applied it to the key frames, and adjusted it so that the
shaking increased as the troll came closer. I added some motion blur to make it
more effective. I scaled up the video slightly to stop the edges of the film
showing.
Shot evaluation and my contribution to each shot in the group project
Opening shot
In this shot, I composited a few of the elements together
and adjusted the size of the troll. It may have looked better to have the trees
moving more than they are in this shot. This would have taken more time but
could have been accomplished using the pin tool in Aftereffects. It would have
given more life to the scene. When the troll walks through the opening between the
trees the right hand side appears rather sharp. I followed the shape of the
tree, but it could have been made softer.
In this shot I composited all the components together such
as the hand on the ground and the bushes. The background is live action, thus giving
it movement. The foreground is a still shot with the bushes and hand all
composited in together. As it is a still shot none of our CG elements move which
in my opinion makes it a less interesting shot.
Hand on tree scene
I like this shot it as it uses a lot of CG. I was asked to
mask the whole hand but it was easier and quicker to mask in Maya. The mask is
a bit jagged around the edge and it could have done with a bit more editing.
For instance the texture on the trolls hand is rather too smooth and green.
In this scene the first thing I did was to remove the tiles
that were used as tracking markers. In the beginning of the shot the troll had
to be behind some branches, so I had to make a mask for these.
I did this in Silhouette FX
This shows the mask that I used. Guled had to render out two trolls for this scene a light one for when he was in the sun; and a darker one when he was in the shadow. I applied a mask when he transitioned between the two.
Shrine scene
The first thing I did in this scene was to blend the dead
trolls into the ground. To do this I used the eraser tool in Photoshop. I went
into the brush pre-sets, selected the grass looking brush and erased around
them. I then dropped that layer into the composition. Next was the shadow layer
from the troll which was dropped in. Then the troll and hand layers were added.
In Photoshop I cut out pieces of bracken and placed it around the troll to give
the impression it was on top. I do not like this bracken it stands out too
sharply. Lastly I colour corrected some of the layers so they blended in better.
Troll picking up tree
I had to remove one tracking marker from this scene and mask
out the tree. I think the tree looks a bit out of place and the texture of the
bark could have been rougher.
Troll walks towards the camera
I like the angle as the troll walks towards the camera in
this scene. I had to remove tracking markers and I did some masking around the
bushes. The shadows were then neatened up. I added camera shake to the troll’s
footsteps to give to more impact and impart the weight of the troll.
Snow scene
I like this shot it and it was fortunate that we were able
to go filming while there was snow. I created a mask so the troll could go
behind the tree. The mask took a while to make, as I had to draw all around the
tree carefully using Photoshop. It looks effective, although I am sure that I
left a few of the branches out. I believe that it was a good final shot as it
shows the passage of time.
In a group project it is very important to have a work
schedule and to keep in contact with all members of the group. It can be
difficult with the demands of other projects to keep up with the group work.
However it is important not to let other members of the group down and for
everyone to know exactly how the project is progressing, if there are any technical
problems and how to solve them as a group.
To this end our group had a number of strategies to remain
in contact:
Generally keeping in contact.
1.
A Facebook page was established so that we could
post ideas, exchange files and show parts of the project and films (see screen
shot)
2.
We exchanged mobile numbers to keep in contact
through text or phone
3.
We arranged regular weekly meetings to discuss
issues face to face, sort any problems and produce schedules of work to be
completed before the next meeting
4.
Personal email addresses were exchanged
5.
Gantt charts were produced (see examples)
Filming
1.
I put together a map of the filming area so that
it was easier to explore the filming locations and identify suitable areas in
the woods
2.
As the mobile phone signal was poor to
non-existent in the filming area I took 4 walkie-talkie sets when filming, so
that we could remain in contact with each other
3.
I was responsible for all the filming equipment
(see previous list)
4.
I ensured that all batteries were charged and
that replacement batteries were available
5.
Erwin produced a shots list
1.
White boards were used to communicate filming
instructions, with information about the take time and who was taking the shot
etc.
Post Production
Putting the final video together has to be done in a
sequence with each group member(s) doing a particular task in the correct order
so that the project was not delayed. We had some problems with frame rates
through inadequate forethought, and some of our sequences were 24 frames per
second and others 25 frames per second. It was therefore not possible to
combine these pieces effectively and some of the work had to be re-done which
was a pain. This shows how important
communication is amongst the group. I think that we all learnt how vital it is
to work together and to use effective communication, even for the simplest of information
between members of the group.
To solve this problem we produced work flow diagrams. It was
difficult to stick rigidly to a time plan as filming was often weather
dependent. We also wanted to film at different times of the year so inevitably
we had to wait until near the end of the project for the spring shots.
Unfortunately spring came later this year which delayed things further, so the
project we could not be successfully completed until close to the allotted deadline.
Inevitably some parts of the project have taken longer than
others, while some ideas have had to be shelved. However, as group members have
communicated well it has enabled the project run more efficiently and smoothly.
Evaluation of Natures Gardener
It has been interesting working on this project for the best
part of a year. It has been a good experience and I have enjoyed working with
my group. We have learnt each other’s strengths and weaknesses and tried to
work to our strengths. We have developed friendships that I hope will remain
after University and hope that we may work on projects together in the future.
It is fascinating to watch the final piece and having worked
so hard and close with each individual scene, it is a different experience to
watch it as a whole. Overall I think that the textures and organic look are
different from the sort of science fiction I proposed at first; however I am
pleased with the effect. I like the way we have been able to incorporate the
seasonal changes and the transition shots (especially the water flowing, thus
indicating the passage of time). The textures match well with the organic
nature of the forest and the blends of greens, oranges and browns contrast well
with the stark white of the winter snow scenes. Having now seen the completed
film version, my favourite scene is of the shrine, as there is a lot going on
and I feel the troll is very expressive.
For the making of the project I enjoyed the filming,
followed by the masking and then rotoscoping. I was pleased to develop skills
in these areas and I am becoming more proficient and confident in these tasks.
I hope that I will be able to find future work in this area of the industry and
from this further develop my skills.
I am pleased with the
final result but we did make our task more difficult as we chose to work with an
organic look and textures. Futuristic scenes, buildings and non-organic objects
are so much easier to work with. I have learnt how important it is to sustain
the work over a long period of time. We had problems of consistency of frame
rates and naming files. These are issues that we are now aware of and will know
how to sort out when we start on another project.
In reflection I have enjoyed this project and
although it may have been easier to work on my own, I now realise that when working
in this industry, I will be part of a team where we can share ideas and
collaborate together. I have learnt so much about the industry and the work
necessary for a project of this type. The team effort over the last year has
been really valuable to me and I know that I will miss the contributions of
members of my group as I continue to produce more films to add to my show reel.
