A couple of weeks ago I found this wonderful illustrator and poster artist on Fiverr and commissioned him to do what will become the poster art for the short film, and for the foreseeable future, the cinematic universe.
It's always interesting seeing how these things develop. There are always hiccups and imperfect communication, and this process has been no exception to these creative caveats at a distance, but I have to say that I am very happy with how the poster is coming.
I'd like to share with you the development of the poster so far. Forgive the image quality, for some reason the artist likes to take photos of the poster and send me those as drafts. I'm assuming it's to keep control over the workflow.
Now, I'm sure you all see it, I know that I did, but the Tear in this iteration of the poster was a bit... vaginal.
I blame myself for this because there is a description in the script that says the Tear has something that can "only be described as it's eye". To some, this might look like a cat's eye, or Sauron's eye from Lord of the Rings, but to me and everyone else I showed it to, it was a vagina.
Some retooling had to be done. Other problems I had was that it's scale wasn't coming through because of the height of our camera and the curvature of the city below, as if distorted by some fish eye lens, was making everything look a little cartoonish.
Even with the samples I sent him, things weren't going as I'd hoped, so we took another crack at it.
I had our artist lower the camera to ground level and sent him reference photos from our location scouts to the city we're going to be shooting in, Redlands, California. This poster below is using a photo of the University of Redlands campus as the landscape template.
I think you'll agree this version is much, much better. The scale of the Tear is profound and the scale of the world is human.
While a dramatic improvement, conceptually it could go further. It wasn't telling enough of the story / concept that I and the project require.
Enter the 3rd iteration.
The addition of the figure, Other-Smith, and his shadow is was what really begins to bring this concept home for me. It's a little hard to tell in this version, but the shadow cast by the Tear from Other-Smith is a tentacle creature to convey the concept of shapeshifters and the genre of cosmic horror.
My mistake with this version was the reduction of stars with the clouds and the intensity of the Tear. With the next version I'm having him remove the clouds, split the difference with the intensity of the Tear and increase the size of the shadow a bit.
I'm also adding some bits to make it clearer that the scene is taking place in more of a suburban landscape. Some lamp posts, another house and weathering on the road will help. The title needs some clarification as well.
I'm hoping in a few days we'll have what will be close to the final version.
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If you want to know who I am and what Distant Signal is, check this out. It's sort of a manifesto. The TL;DR is that I've won an award for producing, make a lot of reality TV, live in LA and think that artist and media incentives are misaligned and serve large corporations and not independent artists.
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In 2019 the goal is to produce the short horror film, Changelings, the world of that story and to build a community of filmmakers that are enthusiastic about filmmaking and crypto currency.