SOLANA
PROJECT OVERVIEW
Prompt:
Create a sci-fi short film that focused on the journey of two soldiers trying to find their savior. Rooted in a myth, finding Frieda is the last hope to save their civilization.
Project:
As the Lead Environment Artist, I designed the architecture, created level sequences, and particle systems. Additionally, I acted as the technician the day of the shoots setting up the equipment, calibrating the motion capture cameras, and skeletons for marker tracking.
STORYBOARD
We used a series of pictures, sketches, and AI generated images to plan our shots. This includes the different camera angles, camera motion, and actors who would be in the scene.
CONCEPT
PRESENTATION
PRESENTATION
We pitched our short-film highlighting the narrative behind it, scheduling, equipment needs, and actors.
MOTION CAPTURE
& ANIMATIONS
& ANIMATIONS
We used characters from Mixamo and shot a motion capture performance in order to rig characters. We used OptiTrack to record out mocap data. Our workflow consisted of calibrating the stage, placing markers on the mocap suit, and creating a rig for each actor.
ENVIRONMENT
The environment for Solana features apocalyptic landscapes and abandoned structures. We used brutalist architecture and Iceland's landscapes as inspiration for the scenes, conveying isolation and need for the savior Freida.
ICVFX
As the on-set Technical Director , I led the operation of the Unreal Engine In-Camera Visual Effects (ICVFX) pipeline, leveraging OptiTrack’s tracking system to fuse virtual environments with live-action footage in real time. This included overseeing real-time rendering workflows, fine-tuning camera tracking accuracy, and optimizing scenes for peak visual performance.
