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The Making of "Scrap Metal": Scale and Complexity on an Indie Budget

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Description

In this workshop, we'll discuss how we used Maya software to create our short film Scrap Metal. We will take a deep dive into what kickstarted the project, how we got it funded, and all the technical and creative challenges. We'll also talk about managing a short film of this scale and complexity on an indie budget. At the end, we'll discuss the further development of the IP, and where we want to go next.

Key Learnings

  • Learn about concepting and coming up with the idea for your short film, as well as managing a day job while working on your passion project.
  • Learn how to get funded and think like a filmmaker, not just like a 3D artist (finished is better than perfect).
  • Learn how to build an IP that can grow in the future.

Speaker

  • Darko Mitev
    I am skilled 3D generalist originally from Macedonia, but I am living and working in Dublin, Ireland. I have more than 12 years of experience, in the CG Industry. I have worked on TV and Feature Film Animation, Feature Films, Game Cinematics and CG Commercial productions. I focus on Concept Art, Modeling, Texturing and Look Dev, Lighting and Compositing.
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Transcript

DARKO MITEV: Hey, everybody. Welcome to this making of our latest short film called, "Scrap Metal." In today's talk, we're going to go over how Out Left Productions and myself were able to create a quite sophisticated, quite high-quality short film on a very minimal budget and time frame as well.

My name is Darko Mitev. And yeah, I'll be guiding you through the whole little explanation today. So before we begin, a little bit about who we are and what we do here. And this project is kind of led by Out Left Productions. And Out Left Productions is an award-winning boutique production company from Dublin, Ireland. It was created in 2015 by the award-winning filmmaker Richard Keane. And it's independent and a creative-led company.

And so a few years ago, Richard Keane and myself kind of got together and started discussing the possibility of working on a short film together. I am a CG generalist by nature and I've been trying to get a lot more into concept art, and art direction, and things like that in the last several years. And I've been creating a little bit of a fictional universe of my own. And it kind of-- one thing led to another, and he proposed that we work together, and we try to create something really cool.

We worked with Richard before in previous companies, where he was the director. And like, we just really-- we kind of clicked together, like we really-- we vibe on the same frequency, so to speak. Like when we work, we like the same things. I really love his camera styles and things like that. And he obviously liked my work. So one thing led to another and we started production of our short film.

Now how this all began was back in 2016, I was doing mostly production work for VFX, and game companies, and game cinematics, things like that. And I wanted to get a little bit more into concept art and a little bit of trying to get my ideas done instead of just working on somebody else's concept. As a CG generalist, a lot of the times, most of the times, I'll be given a brief or a 2D concept that I need to follow. And the goal was, well, can I try to be that person as well, just to see what I can come up with.

So the very first exercise that I did in this whole fictional universe that I later ended up creating was the image on the top left, which is-- I called "The Revival." And because I was not really sure what I wanted to create, I decided to write a little bit of a backstory and trying to figure out, what am I exactly creating here. It's very hard to create a concept for something that you don't have a good grasp on, I realized. So I was like, OK, I'm going to write a little bit of a brief and a bit of a backstory of what the place is, if there's any characters, what are those characters, and what are we trying to depict with this artwork.

So a few months went by and I created this image. And it actually-- it kind of attracted a lot of attention online. It was picked up by a couple of big websites. And I did a bunch of breakdowns and interviews. And it kind of gave me the courage that, OK, I may be onto something here.

So I started doing another one, and then another one, and then I decided to do a bunch of characters just to try to flesh out this whole idea. And because I already had a working base with the very first artwork that I did, I kind of kept going. Instead of reinventing the wheel and trying to come up with yet another backstory, of like, what if I don't just expand this thing and see there's maybe other religions, or cultures, or philosophies, or species that live on this fictional world that I'm creating.

And so, yeah, I kind of kept going. And then one thing led to another. And I was starting to teach a lot of 3D classes online and in some of the schools in Dublin, in Ireland. So this whole point-- this whole time, I kept going with my-- just expanding my world. It was something that I was getting really familiar with. I was getting to know the places, the characters. I kind of knew where I can expand and shift things.

And then an interesting shift happens where I wanted to do a little bit of a different art style. Most of the artworks that I've been doing from this fictional universe of mine were fantasy based, which is great. Like, I love fantasy, but at some point I wanted to see-- I wanted to do a little bit more sci-fi elements. And I had a very particular idea in mind.

And so I basically created like a little bit of a time jump, whereas like there's "lost" history in this-- the progress of this world and now we're going to go like 3,000 to 5,000 years in the future and just to see how this world evolved and how some of the technologies, and characters, and places changed over time.

And so I've added a bunch of Easter eggs in some of my newer artworks where characters and places that I'm showcasing in the-- what I called now the "Old Age," now show up as historical figures, or even legends, or things like that. So, for example, this creature that we saw from the very first artwork, I actually created a render for a class that I taught for advanced texturing, where I'm depicting a artisan trying to recreate how this creature would look like-- would have looked like back in the past. Because this creature kind of passed down through legends and myths. Nobody knows if it really existed or not.

So after that, I was like, OK, this is really kind of taking off. And I wanted to create a place where all of my stories in the "New Age," what I call, will happen. So I needed a place where I would lock down the art style. I would get the mood. I would get the quality bar established. If you look at some of the older artwork, you can see some of them are slightly more realistic, more VFX almost looking.

Others are a little bit more stylized. Because I was-- concept art is basically experimentation, right? So I was really going different art styles with the last several projects. And I really wanted to lock it down and have a benchmark, something that is official for this fictional universe.

And I created this project, which is called "Aura City." So "Aura City" was basically a project which I created as a part of a tutorial of how to build futuristic cities in Maya. So this whole project was kind of like a giant tutorial. It took me like four months to make. But if we go-- see a little bit how it was all created.

I literally started throwing down ideas and literally building it from the ground up. Because I didn't want it to use any online KitBash libraries or pre-made models because the whole point of this exercise was me getting better at design, me getting better at art direction, and trying to see can I create a cohesive world that can kind of follow through multiple projects in a row. And this is where actually our collaboration with Out Left Productions and Richard came in.

When I finished this project, I was still working in my previous company where he was also working at. And he really liked the aesthetic of this because it was very reminiscent of some of the existing IPs, like Blade Runner and things like that. But I was changing a lot of the undertones. And I wanted to make it a little bit more hopeful, a little bit more-- a city with a brighter future. So I borrowed a lot of Renaissance kind of painting elements of splashes of color to kind of draw your eye in certain areas, and dramatic lighting leading you up towards the sky just to kind of get you-- get a little bit of an uplifting feeling to it.

And Richard was really-- really happy about this. And he was like, "Well, let's create a story for a short film." Because at the time, in Ireland, there were a couple of funding schemes that were going on for art projects, and we wanted to apply for one of them to see if we can get funded to make a project film. I'll talk about that a little bit later. But that was the glue that kind of made the whole short film happen.

So after that, we literally started trying to figure out how we can make the film. So before we actually go to the film, I want to touch a little bit about how the city was created because it is one of the biggest sets that we have in the film. And we're directly using this establishing shot set type of thing in a lot of the shots for the first couple of sequences in the project.

So how would you build something like this? I started with references, basically. It's as simple as that. Like you need to ground yourself in reality, see what's out there, what exists in the world, and where you can draw inspiration from. So the idea was I wanted to include a lot of brutalist architecture. I wanted to have a lot of colors. And I wanted the buildings and all the architecture in my city to feel realistic and to feel like it could exist in real world.

I was not going so much for photorealism in terms of like VFX quality level because the problem with something like that is if you create anything to a certain standard, then all the rest of the film needs to kind of match up to that. So the characters need to be photorealistic. The animations need to be photorealistic. So we kind went like an in-between range of it's not fully stylized, but it's not fully realistic. So we're kind of trying to find our own style in the middle of those big brackets.

So after I kind of did the initial reference gathering, I took inspiration from real buildings, from artists and how they depict brutalist architecture and things like that. And I collected most of the useful ones into one page, which kind of translated later on for this project. You can see the main inspiration was down here. And that was like the main image that kind of gave me the idea for the city.

I wanted-- like when I saw the reflection in the water on this canal, it kind of made it look like the city-- the city keeps going and you never see the bottom of it. And that was like a really interesting take on some of the writing that I was doing to kind of flesh out this world, so it kind of worked perfectly. And so I kind of used that as a starting point, as a base. And I've collected all of these references from different buildings, and items, and things like that, that would inform the decision making of how this film was done.

So if we look at how this whole thing started, is I literally started with a simple cube back in Maya, it's nothing fancy. It's nothing flashy. But it's-- the most important thing here was figuring out real-world scale. As you can see here, I am-- I have an imported character, which is 180 centimeters tall.

And I'm building everything up to scale. I'm trying to make sure that everything that this character does and interacts with can work in real life and it feels natural in the context of the scene. Because all of these environments would later on be used for objects to-- sorry, for characters to interact with, to run around and do whatever the plot needs them to do.

So yeah, basically, I'm trying here to create a simple blockout that would drive this entire process for later on. And I really enjoy this process because it lets me be very loose and very creative. This is one of the steps in the making of such a project where I am really kind of exploring and not really caring a lot about is my topology correct, how I'm going to do this in lighting and texturing, and all of this. At this stage, all I care is trying to get everything in the scene file, working correctly with the right scale, and then see, is this-- is this helping my story, or is it just a flashy, cool element?

I initially start with anything that is not directly helping the story that I'm trying to convey, it's not worth having. That's was kind of one of my goals, was like, make sure that everything in the scene file has its purpose, why it's there, and if you remove it, the story will break. So just designing all of these bridges and things like that, how would the citizens of this city kind of travel.

If it's such a high, like tall city, you would need different pathways and crossways to be efficient at work. Or maybe they deliberately don't put spaces where you can cross, so they kind of try to divide people to go to streets and avenues designed for these kind of purposes. So yeah, that's basically the thinking process of this, trying to figure out what is the best way to approach this from a creative point of view, but also from a place where this thing would be useful if it was a real city.

So at this point, I really needed to plan ahead. And with the blocking done, I really wanted to see, OK, how many hero assets do I need. Because it's very crucial to plan ahead and make sure that you have-- make sure that you focus your attention and detail where it matters. Because, for instance, the buildings in the background wouldn't receive as many details as the one on the front. And also, this kind of leads into discussion about techniques, and topology, and things like that.

So these are all the buildings that I've ended up creating, which we consider a hero building. Now you're going to see that some of the buildings, like Building 11, for example, they don't have the top floors modeled. And the reason for that is a lot of these buildings are very modular in how they're created. And because that was not part of the camera in the "establishing shot," quote-unquote, it didn't matter. And it was just slowing down the scene.

I kept the building block in the scene file just because that will create shadows, and reflections, and things like that. But I didn't need all the high-res details on there because that's like above screen level.

And discussing topology, we kind of reinvented a little bit the standardized pipeline. And that is if you work, for example, for a feature film project, chances are most of your work is going to be done with subdivision technique in mind. Now for this city, because it was literally created by myself, I had to be a little bit more optimized in how I create and present these buildings. Because if you create everything with subdivision, this whole set would look super, super heavy. And changing anything, or moving about, or animating, for that matter, would be almost impossible, right?

So what I did here is I kind of borrowed some polygonal and some subdivision techniques and merged them together. So a lot of these assets, which have a lot of curvature and things like that, they have more subdivision, but they are also subdivision technique friendly. Which means that if I have a camera quite close up on some of the pipes, I can subdivide them at render time, and they would look good.

A lot of the planar surfaces I kept super simple, but I made sure that if I needed to add any details, it's very quick and easy. So the topology was like laid down in a way where all the corners were getting like the bevels and the broken up feel. And if I need any subdivision for any reason, if, let's say, I want to do displacements on some of the facades, it's very easy to just manually add loops horizontally and vertically and literally convert the building into a subdivision mesh very, very quickly.

And just to drive the point home about modeling only from the camera point of view is a lot of the "undercity," as we call it, was built in a very modular way as well. And this actually was supposed to represent a little bit of a slum-like feeling to it, where people are super crammed and they keep-- like they live almost on top of each other because there's not enough room in the city for all the population who wants to live inside this block.

So again, all of these were created to repeat and tile, very similarly to how if you look at a Baroque architecture or anything like that, where you have archways, and columns, and things like that. If you boil it down, they're very simple objects which repeat and create patterns that is aesthetically pleasing. Now this was-- the point of this was to create a different feeling to get a bit more of a busy, smuggy kind of atmosphere. But the underlying structure was created in a very-- the same way.

So if we look at some of the creation process, it's very, very similar to the blocking. And that is I'm starting with some really simple shapes. And I'm-- for a lot of these assets, I am doing the creation and the design almost at the same time. I consider myself as quite a fast modeler, so it's very quick for me to adjust things on the fly and modify the topology.

So when I'm designing these little elements, sometimes I'm leaving triangles and angles just because I want to move quick. And when I lock the design out, then I go and I clean it up. And I do the final Look-development, and the UVs, and all the proper things. So try to work fast, try to work efficient, and don't get too precious with your topology at the beginning. Because it will only make your life much harder later on if you want to tweak things.

So yeah, and with all of those props done, I had a city created, which serves as a benchmark. It's our go-to place where all of the stories that we write are going to happen. So if we create-- if we show a little bit of a breakdown of how this render was created, I've created all of this using V-Ray for Maya. At the time, that was my render of choice.

And so I've composited everything using a multi-pass workflow, basically breaking down the render to its individual elements, going to a compositing software of choice for Maya. For me, that was Nuke at the time. And I basically reassembled the beauty, what we call, or the final image. But in between reassembling it, I created a couple of masks where I like color, correct different things, or I increase specular reflection and things like that. So it just gives me a lot of creative control in compositing, so I don't have to go back and re-render all the time.

The final image was rendered in 10K resolution, so you can imagine that took a little while to render. So if you find something, that it's not working the way it should, it's much easier to try and fix it in post rather than go back and redo the whole thing.

So at the end, this scene turned out to be huge. It's about 64 million polygons. It's 2-1/2 kilometer long in real-world scale inside the Maya's viewport. We have 12 hero buildings, like I mentioned, we ended up with 54 hero props. And the lighting, which we're going to look at a little bit later, it turned out to be super complex as well because it went all the way up to 921 lights.

And the final render in V-Ray took about six and a half hours, if I remember correctly. Which was clear that if we were going to make a film out of this, we need to either optimize it or find a different solution to render this. So when everything done, we were like, OK, we need to finish a script, create the previews for all the shots, create a file system sharing, tracking, build all the characters, rig all the characters.

We needed to figure out a motion capture suit. We needed to record all of that. Decide what render engine we're going to be using. We needed to find audio engineers. It basically grew, like people to help us. Because me, and at the time, Richard, when he joined the project, we were clearly that-- it was clear to us that we needed more people. But we were optimistic. So we were like,

"Yeah, we got this."

So with all of that. This is what we ended up. So this is like a little snippet of the film just to kind of get you started about what we're going to be discussing today.

[VIDEO PLAYBACK]

[MUSIC PLAYING]

[END PLAYBACK]

All right. So that is basically our film or a small part of it, at least. So, yeah, now basically, when the time came to actually start working on the film, we knew we had to do a little bit of changes and basically create a bunch of tools to help us get there.

For one, we had to shift our render scene from V-Ray to Redshift because we had a lot of render power in GPU, and it was, rendering much, much faster. So the final frame for one of the-- yeah, the final render time-- sorry-- for a frame of this shot was about between 15 and 17 minutes, which was way better than what we were getting at CPU scale.

So I had to convert the entire set from V-Ray over to Redshift. And that, as you can tell, it's a giant task because there's a lot of objects, and a lot of lights and materials that need to be converted. So we went into our like Lookdev and-- yeah, sorry-- we went to our Look-development wizards and we were like, can you create a bunch of tools for us that would help speed this whole process up?

So what we did is we ended up creating a shader builder, which works between Arnold, V-Ray and Redshift, and a little script which basically creates lights based on selection of polygons or edges. So if you have an open edge and you select the border, it will create a Redshift area light, and it will scale it correctly, and place it in the right location.

So a little bit of a demo on how our shader builder works is we basically work with PBR material workflow and ACEScg. So we created a custom export settings from Substance Painter for a lot of our texturing work. And basically, all we need to do is point to one image and it will recognize all the UDIMs and all the materials based on tagging system. And then you have different options of creating viewport materials, using color space, creating-- combining the placement nodes, and using subsurface or displacement and all of these things.

So you can just configure it the way you want. And then you can rapidly create all of the shaders that you want. And that basically helped us tremendously speed up the conversion process from V-Ray to Redshift. And as a bonus, we also created a viewport shader so that if you see the building in, let's say-- or a character-- if you see them in the viewport, they will have a Maya Lambert material, which animators would be able to use. But when you render it, it will overwrite that with the proper material and proper settings.

So then Richard, basically-- well, while I was building the rest of the assets and assets-- I was modeling the characters and the environment, the rest of the environment from the film, Richard went into creating a previs and layout. We didn't really have the budget of creating a separate storyboard, the way you would do it in production. So Richard basically took all of the models because we already had most of the models created, at least for the first several sequences. And he basically started creating the previs.

[VIDEO PLAYBACK]

As you can see, it's super-- it's super janky. It doesn't really have any final animation or anything like that. The whole idea for this was showcasing the timing and showcasing the-- what the action needs to be. And then animators will take this and make it look proper.

[END PLAYBACK]

So from there, we basically transitioned, like I said. As to development, this is Sybil, our hero character. She was sculpted in ZBrush, and then we topologized in Maya, and the groom was done with XGen. And we created this interesting light rig where we show the character in multiple lighting scenarios because throughout the film she'll be traveling from daylight, to a super-dark environment, to a neon district. So it will have a bunch of lighting changes. So we wanted to make sure our lighting rig represented all of those changes.

And then this is the final topology. We did use displacement for her heavily. Redshift is super fast at rendering displacement, so we used displacement on the clothing, on the face, the entire body, and things like that. So the polygon density was quite uniform and clean so that the displacement would work well when we subdivide.

And a few more of the assets. The big robot on the left is the main antagonist. And then you have several more side characters and props that are used throughout the film.

And then when we kind of left this set and when she was supposed to go to the different sets, I was the one who basically went and designed all of the other sets and do the Look-development, and texturing on them as well, and lighting. So this is the set where we kind of transition straight after we leave our city proper. So this is like a subway set where we travel down to.

And this is just the environment with a couple of characters for scale reference. In the final shot, this place would be bustling with people and robots moving about. And this is just the environment itself to have an understanding of the scale and look of it on its own. And we had to detail up some of these elevators and other props that were originally built for the city. More of a background assets.

And then motion capture. So we knew that to match the quality level, we had to use some sort of motion capture and then animate a little bit on top to give it a style. So we started with testing our Mo-cap system on one shot. And this was the very first shot we did motion capture on, where you see the character giving a salute to the robot, the drone that is chasing her. And then doing the motion capture.

It was a quite simple example. And we went through all the processes, using our motion capture system from Perception Neuron, which we acquired, and then re-targeting it in Maya. And then applying it to our character and finalizing it in our compositing.

And so that was pretty much the animation. We also used a lot of motion capture libraries online for some of the Parkour elements, which basically was done on the very same way. We take the library, the animation, re-target it, clean it up if necessary, and add any extra animation on top.

Lighting, so the lighting for this was, like I said, quite challenging because the set was quite large in real-world scale. So we needed a lot of lights to make it feel believable and to have a specific artistic look to it, which I was going for.

So instead of using one sunlight, I wanted to make it look like there are clouds in the sky. And one of the ways I'm mimicking that is I have multiple area lights which are coming from the same directions. And I'm kind of positioning them to highlight specific parts of the city where I want people to look at or I want to highlight. So that way you create a little bit of gaps of lighting and then darkness, and lighting and darkness, which kind of gives you the illusion that the sky is being clouded and they have patches of empty space where the sun can kind of-- comes through and light the set.

On top of that-- so that's basically all of our sunlights. And I have a dome light which serves as a fill light to lift all the shadows. And I use a very early morning HDRI image to kind of just basically fill in the blanks a little bit. I toned down the intensity of this quite a bit so it would not overpower the main lighting.

And then every building has its own lighting, which I'm kind of representing it here. They almost look like a point cloud of lights because every building has several apartments that are lit up, and they have lights inside. And all the billboards and neon signs, they all have-- likewise, they have their own lighting.

And then some of these shots were getting completely out of control in terms of scale and complexity. So we had to think a little bit more outside of the box, so to speak, where we had to find ways to create matte paints which are derived from the 3D assets we already have, and then just polish them up and add a lot of detail in 2D.

So, in this example, I'm showing a very quick camera rotation. So this is a very simple scene with several objects. And the only movement we have is the camera rotating on the y-axis. If you look at the next slide, you're going to see this is basically what the camera kind of field of view is in the full rotation. So we start at the column on the left side, and we rotate all the way to the right side.

Now, in this example, I only have the camera rotating on one axis. And that does not necessarily need to be the case. You can rotate the camera on many axes, as long as you don't translate the camera at all. This trick will work perfectly. So just for simplicity sake, we only have one axis to showcase the workflow.

And then what we need to do is, basically, when you establish the camera move, you need to go to the center of your movement and-- or the center of the action. And then you need to create what is called overscan. So an overscan basically means that you need to take the frame, which is in the middle of the action, and you need to expand it so that you encompass everything that the move needs to see, basically. So the entire rotation, everything that is in the camera move needs to have-- needs to be in that final matte painting.

Now, how do we do this? It's very simple, actually. In your camera attribute, all you need to do is play with the camera scale attribute. And the way this works is the more you scale the camera, the focal length basically goes down, which basically reveals more of the shot.

So if you can see on this image at the bottom is the camera scale of 1, is your normal shot. With camera scale of 2, basically it's much wider, right. And then the only thing you need to worry about is before you actually render that, you need to take your final output resolution and multiply it by the scale of the camera. Because, otherwise-- excuse me-- otherwise, you will get pixelated results when you use the back in compositing.

And then this is a really good example of one of the shots. Here, we did something that is very hard to notice if you don't know about it, is we actually do have a camera move to a certain point here. And then the camera stops moving, and it's only rotating up. And then it goes to the left. So what we did is we rendered the shot normal, frame by frame, up to the last movement. And then from there on, we basically are swapping the environment.

So if you show the matte painting of this, you can see you see a little bit of movement at the top. And then it's basically black. Because you don't see anything until the camera stops moving and then you actually see the matte paint. So that was rendered as a separate layer.

Now, how that was done was, basically, you have two Maya scenes. One of them is your actual lit in render file. And then one of them is your matte paint. Now what I did is I took my final animation file, referenced it into a new Maya scene. And I built quickly this environment on the bottom, which is going to be my matte painting, using the assets I already have.

We don't really show that side of the city in the opening scene. So I basically just took all the buildings, kind of moved them back, and I adjusted things a little bit. And when I rendered it, this is what I got.

So then I went to Photoshop, and I added a bit of details and some leaking effects, some weathering and things like that. And then all you need to do is take your render geometry and you apply a shadow matte material. Basically, you want to cut it out. And you create a sphere. And you import the camera motion. And then we need to pick the same frame we used for our matte painting, which is basically the middle of the action.

And if we go to the next slide, you're going to see this is the shader setup. All you have is basically your camera going into a projection node, which goes into the color. Excuse me, it goes into the background of the shadow matte. And what that allows me to do is to specify-- in the projection node, I can specify the camera that I used to create that matte paint.

And when you project the image, it will project correctly on the sphere. And then when the camera rotates, it goes from one boundary to the other, and it shows the whole thing and it works perfectly.

So if we see the final shot, this is basically what we're going to get. Now, this obviously has a little bit of comp work on top. We have the motion graphics and the color correction to make it look like a video feed. But as you can see, the parallax works perfectly because it's just a rotation. We do not change depth.

So, yeah, and that's pretty how we did the film. Now, before we wrap it up, I want to speak a little bit about how you can get funded for something like this. Because, obviously, we had a little bit of a budget to get this. And we actually used the second point of this, which is the development grant.

So usually, in a lot of countries who have animation or VFX industries, you get grants to create some artistic projects that can be anything from short films, to script writing grants, or even feature film development. Depending on the country, you get different types.

Now in Ireland, we got short film and development grants. And the development grants were quite new when we started working with this project. So we wanted to make sure that we can deliver on our promise. So what we promised was that-- we showed the artwork of the city, right.

And we promised that we can buy the motion capture with the money from the grant. We can create a case study where we show how the motion capture is being used. And we can create a thesis explaining is this technology useful? Is it not? And if so, how and why, for both of those cases.

Another form of grants you can have is, if you're using something like Unreal Engine in conjunction with Maya or Max, for example, you can get something like Mega Grant from Epic. You can go with your previous work to film festivals and try to reach out to producers or film directors and see if anybody is interested in collaborating with you or funding some of your projects.

And crowdfunding is also becoming really popular. Although, crowdfunding can be a little bit dangerous if you don't have a team to handle all of that. Because as a solo artist, you'll be focusing on your project, and you're going to need a little bit of a support to meet all the requirements and fulfill all the promises that you promised, basically, in the crowdfunding.

And the last point that I have is alternative funding methods. And what do I mean by that is, as you can see, these artworks keep appearing on a lot of the slides throughout the show. And the reason for it is this short film came as basically as a culmination of me trying to get this project funded for many, many years. So I tried to find alternative methods of how I can push the project a little further.

Instead of trying to fund the whole thing at once, I get a little bit of help here and there to kind of push the needle forward, basically. So this tutorial that I was telling you about with the advanced texturing, I was paid to do a course about texturing. And I chose to use an environment from my-- my IP to basically figure out for myself, first of all, how I want this to look like. And then also, show people how I do texturing.

The image on the bottom is called "The Experiment." It was literally an experiment for myself to figure out how the "New Age" of this world is going to look like before I jump into making an entire city. And that basically, really helped me make small, creative choices along the way, where eventually, when you do get the bigger budget, you are ready to execute.

Now when we delivered the final trailer for the grant that we got, we didn't deliver the full film. We actually delivered what was in the contract, which was basically a case study of what our toolset can do. And this is basically the very first teaser trailer that we created for the project.

[VIDEO PLAYBACK]

[MUSIC PLAYING]

[END PLAYBACK]

And, yeah, that was basically my talk today. I hope you found it useful. And thanks, everybody, for joining in. And, yeah, thank you.

______
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