What’s been going on with Mike lately?
CSI: Mike. (Photo by Stephanie Viriyakul)
When last I blogged, I was pushing Mind Rip’s Kickstarter campaign. Well, that fundraising tactic fell short, but that doesn’t mean we’re not making the movie any way possible. We’re continuing to shoot the first half hour of the film (which are relatively low on special effects). Thanks to our leads, Joe Thompson and Kristen Royale, for shooting with us for a few nights in July. For more pics, friend the film at http://facebook.com/mindrip
Strange things happen in the desert.
Meanwhile, after a 6 day shoot in and around Death Valley, I’m now editing the feature film “3.14…” for writer/director/actor Greg Smith. This is an indie feature that looks at mathematical concepts and philosophy through dream logic. Oh, and there’s guys dressed in zebra striped lycra suits riding motorbikes. Friend the movie at http://www.facebook.com/pages/314-the-movie/142935755771042
Casa Phil-Mad
And this is a good time to mention our new base of operations for Philrose editing projects, which I’m dubbing the Phil-Mad offices. Because, you know, I’m there too. At last, John Vincent and I have enough space for computers AND noxious chemicals. (That’s office plus workshop space, folks.)
The Old Fish and the Sea
As long as I’m in recap mode, I’ll mention that I won the Rochester Movie Makers short script competition for the second straight year. My entry is the soul-searching tale of a young man and a talking trout. (Gulp! Now I have to consider shooting it.) Read “The Old Fish and the Sea” online here.
Paradigm, by Lesia Vincent, cover by Mike Boas.
Lesia Vincent’s first novel will be released soon, so here’s a sneak peek at the cover by yours truly. Paradigm’s story involves a woman connecting with her ancestors via Italian witchcraft. For the cover, I did an interpretation of John William Waterhouse’s painting, The Magic Circle. Watch this space for an announcement when the book goes on sale.
Ammo and Attitude
Ammo and Attitude is a reality show on the Versus network. Derrick Petrush (of Rochester Movie Makers) is editing the show and asked me to update the animated intro for the new season. The original intro was really well done, and it was a fairly straight forward job to go in and swap in this year’s contestants. Still, it involved a certain amount of rotoscoping and After Effects cleverness. Find out more about the show at ammoandattitude.com
Summer Filmmaking Camp for Rochester Youth
And finally (finally!) I should mention what a pleasure it was to co-teach a class on storyboarding to 36 young filmmakers at the 360 | 365 film camp. Fred Armstrong and I went in armed with dittos about camera shots and tons of samples. The kids were super creative and super appreciative. Their resulting short films will be going online soon at http://film360365.com/school
That’s all for now. Here’s where I should insert a witty comment about it better not be another four months before updating again, but… eh, I don’t feel like it.
I’m a pepper… but not for long. The Dr. Pepper lunchboxes I bought in bulk are metamorphosing into something much more sinister. (These boxes are being used as props in many of Rochester Movie Makers’ short films this summer.)
First, all the shiny metal parts are masked off with blue tape.
Then I break out the primer.
It takes a few days to apply coats of primer and spraypaint. I often get bubbles and drips of paint. If they’re really bad, I sand them down, but since these lunchboxes are meant to look old, I’m not troubled too much by a rough surface.
Next, my friend Frank prints my artwork on sticky vinyl and I apply it to the boxes.
A little acrylic paint is dry-brushed on for an antique effect, especially on the metal to make it look rusty.
Mad Monster is not the only design. Here’s a look at some artwork I did for the short “Boxed In,” which has a sci-fi/magical plot. The first piece is a space image crossed with some atomic imagery, combining the macro and micro worlds.
The next two are Nalli and Hitchcock, two “Boxed In” characters in cartoon form.
The film “Lunchbreak” requires a Bride of Mad Monster box. After sketching a feminine version of the loveable green guy, I inked and scanned her to Photoshop. I’m now halfway through coloring — no texture or shading yet.
Here’s the artwork (so far) for the lunchbox props we’ll be using in the Rochester Movie Makers summer shorts. I’ve got a few things I still want to touch up, but I think it’s pretty close.
But that’s only the beginning! At least two shorts are going to require additional lunchbox characters. I’ll have to jump into those next.
If you have any interest in seeing the long hours of Photoshop painting that went into creating Mad Monster, check the links below.
Part 1:
http://www.ustream.tv/recorded/6388643
For this year’s Rochester Movie Makers Summer Shorts, we are introducing a linking motif. For those who wish to take part in a larger anthology film, our writers are incorporating a MacGuffin — in this case a red lunchbox. We wanted to give that lunchbox some personality, so I proposed some fictional branding. It’s important to avoid copyright issues (like if we used a Spider-Man lunchbox) so our prop will be emblazoned with the MAD MONSTER identity.
I’ve spent the last couple days working on the perfect retro font style for the Mad Monster. My goal is for the box itself to be a product of the monster mania of the 1960s. Universal monster movies were playing on TV to kids who’d never seen them before. Their popularity led to Aurora model kits and publications like Forrest J. Ackerman’s Famous Monsters of Filmland.
I imagine that a character like Mad Monster would have appealed to those kids. He appeared on lunchboxes, but is now almost completely forgotten. Those lunchboxes are prized collectibles today.
To find the right inspiration for the design, I looked at magazines, toys, and comics of the era. I especially examined the covers of Famous Monsters. I like the the letters in the left column interlock with each other.
I also thumbed through an issue of today’s greatest horror publication, Rue Morgue. Check out the font used in the lower right, for the name Paul Naschy. The spiky serifs seemed like a good way to go.
After countless drawings, I scanned my favorite treatment and applied color and texture. The next step will be adding the monster character. (The font had to be done first so I would know what shape he’d be leaning against.)
We all like going behind the scenes, right?
When Mike Schneider, director of the Night of the Living Dead: Reanimated project, asked me to contribute a featurette to the upcoming DVD release, I was afraid I wouldn’t have the time to do so. Well, last week I gathered strength and put together a 6 minute tutorial on interpretive rotoscoping.
Rotoscoping is an animation process that involves a lot of tracing. For NOTLD:R, I changed my style up depending on the shot — and sometimes that meant tracing 15 pictures a second with my Wacom stylus.
In this video, you can see some of that process, albeit sped up to make it more interesting.
Interpretive Rotoscoping for NOTLD:R from Mike Boas on Vimeo.
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