Alvina: You have mentioned that you included both real life footages and animation in your film, so I would like to ask how did you make decision on which parts you would use which kind of footages?
Finbarr: The clips in the film where I had film it was when I was exploring the caves in the UK, so at that time, I was just recording the footage…where I wasn’t quite sure on the direction the film going at that point of the time, but then it became more clear that…those elements would be…where the subversive character is exploring kind of the hidden parts of the city, and… as they do so they uncover the secret parts which are the parts where the foreign workers which built the city were living…so I think by using…the real footage and the green screen footage…is able to achieve a certain look…obviously…says for instance Mike uses the game engine, it has a quite a different feel…so whether you use a rendered footage, real footage or a game engine footage…you have quite a different style and we all used to…kind of very good looking CGI by these days cause we’re all used to it… but then if you don’t have the skills or kind of the machine power to create these perfect CGI world how do you create imagery that is striking…and at the end of the day I wanted the film which is very striking aesthetically, so it was a question how could I achieve that with the time given to me which was the struggle, so I think by including the green screen footage and the real footage that it is a time saver…and in order the animated footage…was actually more a 2.5 D animation not full 3D so a 2.5D animation you have…kind of separate layers… you have the foreground, the background, and they’re actually still, and then the layers in between are moving so for the scenes where…the grave for instance that’s a mixture of still and animated footages so I kind of rationalize the base on how do I save time.
By Lee Tin Wing Alvina (3035485340)