Thanks!

Thanks, I can't wait to paint it! I'm pretty happy with it 😁

Haha, not my first animation, just the first shot I'm animating from my new short film that I'm working on. If you want to see my other stuff, it's all on this channel 😁

@@Mikolaj2007 My Own Private Idaho is on the list, I just need to decide which shot to paint. Any suggestions?

I have also done 'Mysterious Skin' by Gregg Araki, I haven't seen 'Totally Fucked Up' yet though, I'll give it a watch any maybe paint something from it 😁

I think you should either paint Mike standing on the road or Mike and Scott on the motorcycle. Also you should definitely watch totally fucked up it’s one of the most accurate representations of the queer experience I’ve ever seen on film.

@@sxgbln5868 ¡Eso suena genial! No he hecho mucho arte digital, no me parece tan divertido como el tradicional. ¡Buena suerte aprendiendo!

Hi, thanks for the comment! I recommend all those films, especially 'Close' and 'Mysterious Skin' if you want a good cry 😂. I use a Blackmagic Pocket Cinema Camera 4k, which I mostly recommend for filmmaking, but isn't ideal for this kind of thing as it doesn't have a rotating screen. I tend to use cheap vintage m42 primes with a m43 adapter e.g. Pentacon 29mm, Helios 58mm etc... Although the painting part of this video was shot on the panasonic 35-100 because it came with the camera, which I got a great deal on eBay for. In terms of my computer, I use a Lenovo Legion 7, which I also got on eBay for almost half the retail price. You could probably get better specs from a desktop for the same price, but I do a decent amount of traveling, so a laptop makes more sense for me. As I say in the video, I have only been painting for a week (aside from little stuff here and there) so I don't think I am the best person to ask for proper advice, this video is more about where I am at at the moment, rather than a guide for others, but I'll do my best to answer. I use a watercolour kit and mix the colours in the bottom section where the brush is stored. I don't know if that's what you're supposed to do, but it works for me. As I say in the video, I start with a very light under painting in a complimentary colour to the skin - usually green, blue or purple, depending on what I can see in the skin. I then slowly add layers of colour until it looks right. The article that helped me most was this: danielsmith.com/tutorials/joanna-barnum-watercolor-portrait-step-by-step/ I should also mention that I have a decent amount of experience drawing with graphite pencils, which definitely helped with painting a lot, although I was always very scared to make the move over to using colour as it is very intimidating to begin with. Anyway, I hope that was useful, thanks for watching! If you have any other questions I'd be happy to answer 😁

@@EdgeoftheRoadProductions Thank you so much. these are really hopeful and I can't wait to see what's coming next ^^

Thanks! Part 2 of the BTS is out later today, so keep an eye out to follow along!

Thank you!

Thanks, I can't wait to share the journey!

Hi, thanks for the comment and encouragement. You said I should wet my paper and tape it down. I don't really like the softer look of wet on wet watercolour, is wetting the paper just a preference thing, or a commonly accepted rule? Also, why tape down the paper, I often found myself rotating the paper in order to work at angles I wouldn't have been able to otherwise, also I like the rougher edges at the top and bottom? In terms of brushes, I only have a watercolour kit at the moment and don't have any other brushes, hence using the pen brush thing (idk the name). I did try to leave areas of highlight, but struggle to keep them light as I go as I see different colours in the highlights. I tried to be light with them, but it got darker than I wanted in the end.. I am getting some Gouache paints for Christmas (happy Christmas btw if you celebrate) and think that I will get along better with those as they seem to be more forgiving in terms of highlights and stuff. Anyway, thanks for the advice :)

Thanks!

Great! It's really fun (when it goes well) I would just recommend not shooting anything you care too much about in this way because there is never any guarantee that it'll come out at all. Although of the three rolls that I have developed, I've never had any come out completely blank. Good luck though! If you post the results anywhere, I'd be interested in seeing them 🙂

Yeah, it's a real shame that it can't really be used for its intended purpose anymore.

Yeah, I tried that for a bit on a previous project but there are no specific aperture f stop markings, so it's not at all specific and the stuff I shot with auto exposure what much better than what I shot by guessing on the dial, so I decided that the best option would be to use the auto exposure and then try to correct when developing for this project, which worked fairly well.

Thankyou very much :)

Thank you!

Thank you, I'm glad you enjoyed

Hi, thanks for watching, I'm glad you liked it. I am making a behind the scenes series at the moment (the first episode is out now) the second episode will come out on Monday, which will be about shooting, developing and scanning Super8 film, and then the week after I will post the third part which will be about the VFX and post production, so will go in depth into shots such as the one that you are asking about. Just as a quick answer though, I used Blender and Davinci Resolve for almost everything, with a tiny bit being done using EbSynth as well. Spanish (sorry for any mistakes, I just used Google Translate): Hola, gracias por mirar, me alegro que te haya gustado. Estoy haciendo una serie detrás de escena en este momento (el primer episodio ya está disponible). El segundo episodio saldrá el lunes, que tratará sobre filmar, desarrollar y escanear Super8, y luego, la semana siguiente, publicaré la tercera parte. que será sobre VFX y postproducción, por lo que profundizará en tomas como la que estás preguntando. Sin embargo, como respuesta rápida, utilicé Blender y Davinci Resolve para casi todo, y también hice una pequeña parte con EbSynth.

Thank You very much! I have just started working on a new animation, hopefully I'll be able to do some more live action stuff soon, but it's a little trickier, especially if I follow a similar process as I did with this one (Hitchhiking around and figuring it out as I go)

Hi, thanks for the comparisons. If you're interested in how I made it, I have already released part 1 of a three part series of BTS videos where I'll talk about all of that. The first one is just about the filming and travel side of it, then the second will be about shooting, developing and scanning super8 at home and then the third will be about the VFX, so keep an eye out for those :) Neither Memoria or Tetsuo: the iron man were films that I actively referenced while making it, but both are films that I love and now that you have said it, deffinately affected the film in massive ways. Particularly the use of sound in memoria as well as some of the lingering shots of nature (I absolutely love the shot of Tilda Swinton leaning over the river that lasts like 5 minutes if I remember correctly. In an early version of my film, I had a lot more longer shots, but cut it down for time). I also loved the black and white poster for that film, which, in retrospect, is quite similar to some shots in this! ...Also it's thematically quite similar - Oh no, I think I just remade Memoria 😬!! As for Tetsuo, when I was making it, the Darren Aronofsky film 'Pi' was more of an inspiration, although I am pretty sure that Aronofsky has said that that was inspired by Tetsuo. The biggest influence was probably the Eddie Alcazar short film 'FUCKKKYOUUU' which is on KZbin, its a bit weird, but the end always gets me.

@minotrap68 I have just released a BTS video of how I did the VFX in the last scene if you're interested :)

@@EdgeoftheRoadProductions I’ll check it out! Yeah I can see the Pi influence as well - I think it’s that aggressive black & white, almost body horror vibe? Thinking about the drill scene I guess. I think the way you introduce these chaotic effects and nightmarish visuals quite late into an otherwise very peaceful and contemplative study is really interesting - getting the impression (given you filmed in Croatia?) this film is sort of about connecting with the trauma embedded in war-torn landscapes as a complete outsider.

@@minotrap68 Yeah, The intention is more to look at the perceived separation between natural and manmade things and how through unnatural and natural decay (mostly war and time) the line between the two is blurred. The ending is supposed to be a kind of apocalyptic event in which humanity as a whole is wiped out and everything can be perceived as one again. The nightmarish stuff starts happening at about 8 minutes and 20 seconds into the film, which is the time it takes for light to travel from the sun to earth, so I kind of saw it as a sudden solar flare type of thing. Anyway, yeah, the war-torn Croatian landscapes definitely play into this theme, although I didn't want the character to have much more significance than just an observer and a part of the natural landscape. Like the quote at the start says and the title alludes to, we are not separate from nature. I hope that makes some sense. I can see what you're saying about connecting to the trauma - its definitely something I felt when I was there and especially when I was talking to local people. I have two other BTS videos as well - the first talkes mostly about the experience of shooting and the themes of the film. If you're interested in the travel side of it I have a hitchhiking series on my other KZbin channel which shows what I was up to when I wasn't filming - its linked in the first part of the BTS series. Thanks for watching though. I'm looking forward to seeing 'Pure Light' from you!

Thank you! I'm glad you enjoyed :)

Thanks for watching :)

@@EdgeoftheRoadProductions how long u been drippen for gang?

Thank you! I'm glad you liked it!

The full short film is out now! Check it out on my channel :)

Yeah, I played around with the base levels for a while with that, I did cut the high end a little bit, but found that if I cut it too much then it didn't have the same impact. Thanks for the feeback though, I know its a bit 'rude', I was definately feeling that when editing and having to listen to it for hours on end hahaha

Yep, that was deffinately an inspiration for this film, there is even a shot towards the end which is based off of a shot in 'The Red Balloon' :)

Thanks! Have you checked out the full film that is now available on my channel?

Yeah, I wanted to keep it under 10 minutes, so ended up being very fast paced. I will say that the first half is supposed to be very fast and hectic as it is supposed to show how overwhelming new, exciting friendships can be, then it slows down a lot after that as the character finds a more comfortable friendship, although it is still fairly fast. At the end of the day, it's just one guy (me) making it, so I wanted to keep it pretty tight to make it as manageable as possible with no unnecessary fat. I'm glad you enjoyed it though :)

Thats kind of the point of that section. It slows down soon after 👍

Thanks! I'm glad you enjoyed!

Thank You

@@Ali_Kisitu Thank You :)

@@EdgeoftheRoadProductionsYour storytelling technique here is out of this world

@@Ali_Kisitu Thanks, that was a big aim with this project😁

Thanks, I agree. I liked it so much I used two versions! One from Montana Skies and the other is Holizna, who also made two of the other songs in the film.

Thanks, there are loads of great Blender tutorials on KZbin!

Thanks! 😁