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Return from Break

DeCarlo

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I launched this club, then went quiet pretty soon thereafter, so I wanted to post an update and maybe it is something other people can relate to or share advice on.

 

I finished my first major short film, a 13-minute adventure comedy about a rookie government agent trying to hunt down his first UFO.  It was an exhausting 140 days of production, but the film turned out awesome and it was a huge educational hurdle for me.  More than anything, it was the first time that I was working in CG full-time (I've been teaching myself since 2005, always with a full-time day job in an entirely different field).

 

About four days after completing my film, I was ready to start something new. :P  I found all the models I needed on TurboSquid that would allow me to jump straight to production on a 2-minute short. My plan was to quickly produce something with Hair and a daytime/indoor environment to round out my skills/experience before trying to fundraise for a feature.  I was ready to start storyboarding when I discovered that the models I was planning on using were ripoffs of major animated films: the fully-decorated kid's room was from Boss Baby and the girl was from Inside Out. They were extremely high quality models created by a really talented artist, but no where did they mention these were copyrighted designs - they were posted as royalty-free original models.  Had I not randomly watched Boss Baby because it popped up on Netflix streaming, I would have been halfway through production of a short film completely unaware that my models were stolen from big studio productions!  (And yes, I feel really stupid not recognizing the girl from Inside Out.)

 

Anyway, that discovery really knocked the wind out of my sails. I am not very adept at design/modeling, so I went from being ready to start production on a new short to facing a long and tiresome design phase. I spent a solid month or two struggling to find the energy or interest to start a new project.

 

A friend of mine once said, "The natural state of a film is to not be made." This couldn't be more true. Every single day is a struggle to keep your film alive. While that struggle is often time, money, or technical, it can also be emotional. And I think that's okay. What we do is really incredible, from creating a virtual world out of nothing, to seeing a project through - despite seemingly insurmountable odds. 



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