Alors, est-ce que ça fonctionne ? Ok, c'est bien, pouvez-vous m'occuper de moi ? Hello, this morning, this session is about the Gooseberry project, as you can see. And we'll focus more on the creative aspect of it. So, we'll talk about the script, the evolution of the project, these targets as an artistical project. We'll talk about designs also, the characters and the environments. So we'll focus more on the art side of the project. There is a talk, after from Tom, more about the technical point of view. So I think the pipeline and the development will be more evoked on this talk, I think. Correct me if I'm wrong. No ? Yeah, that's right. So yeah, pipeline, development. So, does this work ? Yes, let's talk about... Because we are in the pre-production stage of the movie, it's been three months, we are working on it. And I'll try to summarize where we are right now. So, hi, this is me, younger and out of jail. So, I was... I'm making movies for almost ten years now. I've made lots of different ones, some CG, some not CG. Thank you. Some are funny, some are quite dark. Also, I've made various stuff, mostly with CG, a lot of live action shooting too, with CG characters, stuff like that. So, again, I've made some very poetic and dark things or very funny and simple things. It depends on the projects, but this is a quick show up of some of the characters I've worked on. Oh, it's a bit slow, sorry. So, I wanted to ask you, because Tom, every year when he started the Blender conference on the keynote, asked how many conferences you attended. So, I want to do quite the same thing about movies and TV. So, I wanted to ask you, because I know that Blender users are very various. They are not only film related, I know that there is games, architectures, designs, lots of things that are involved on it, but I wanted to just know who we are working for. Like, who is the audience and who watches movies and how passionate people are about this. So, I just wanted to ask you how many people in this room went to a film festival once this year. So, this year, in general. Ok, so almost everyone, so that's good. And I also, just to have a quick idea, wanted to know how many goes to a cinema at least once a week. At least once a month? Ah, that's better. And once a year? Or less than once a year? I've never been to a cinema. Yeah, is there someone that I've never been to a cinema? Ah, because, yeah, but you don't have any in your country, so that's fine. How many movies do you watch at home? Do you watch one movie per week at least? Ok, so everybody watches movies, that's good. So, this doesn't make sense. And I'll ask the same question for TV series, for episodes. At least once a week, something like this. Ok, yes, everybody follows TV series. Ok, so, how the Gooseberry Project started? Well, last year I was invited by Tom at the Blender Conference. The idea Tom had, the vision he had for the project was already discussed for at least one year, I guess. To have multiple studios working on the feature films. They were independent studios with artistic freedom that will work on the whole feature film project. And I was invited at the Blender Conference thinking I was one of the studios, the Paris one. And he finally proposed me to enjoy the whole movie, which was quite a surprise. And I accepted and we talked a lot about it just to see what was Tom's vision about it. What he envisioned for this project and how we can make it work. And we also started to discuss the possible directions this project could have from a movie point of view. So, there was three main directions we discussed. The first one was the Cadavreski, which is a French thing. I tried to translate it, but I don't know how. So, I don't know if you've ever played this game, you take a piece of paper, you start drawing the head of a character, you fold it, you give it to someone else. He does the second part of it and as it goes. So, no one knows how it looks like at the end, but everybody draws a part. So, it was the idea that every studio would be totally independent and don't really know what happens to the previous one and start at the final frames of the movie and goes on like this. It was one idea. The second one was to have one story, one script and every studio would be totally free to direct its own scene out of it. And the third one was to have quite the same thing, but to focus more on the storytelling part to make it more coherent and just focus on the artistic directions that are changing from studios. So, this also leads to what kind of movie can it be then because what story could fit those concepts, those ideals and, more importantly, what audience are we trying to reach? So, I started to work on lots of things and ideas. I didn't show everything because I have a shitloads of this. So, we go back to the question like, what is the audience? For who are we trying to make a movie? Which is a very important question, I think. And the first question that brings it is, well, does it matter really? So, too many direction comes from it. If you don't care about your audience, you can take any risk you want. You can make the most crazy movie you ever made, but you take a lot of risks and you can also make a very, very shitty movie and that can happen. Or you're trying to secure more and you have a more success story kind of way of thinking it. So, you focus on what works, what always works and you try to make something very secure and you don't take many risks. So, basically, it goes to having the decision of making an independent film or a studio movie. If you want some examples, you can compare from, I don't know if you know those two films which are very small budget and independent animation movies which are very good actually. I can encourage you to do it. Or if you compare this to the very big mainstream studio movies which are the total opposite, where shitloads of money and a very, very secure way of making a movie. But it works. So, to define Gooseberry then, well, it's quite obvious it's an independent movie. We don't have the same resources as big studios. So, we were quite funding the project. So, we had few resources. And, well, the question was also related to what kind of movie it becomes. Because is there any animation independent movies? Well, not really at the moment because animation is very, very expensive. So, you need very big budgets to do it. And we don't. So, it narrows down the possibilities and we have small resources. But that's the main good thing about it is that we also have lots of freedom. We can do almost everything we can. We don't have limitations. We don't have constraints, artistically speaking. So, that's very, very exciting to work on. But there's also some problem out of it, of course, is that we have... If we have multiple worlds and multiple graphic directions or even multiple directing scenes and directors, we'll have something that can become also experimental. Like, very weird movie and not very mainstream movie. Not very narrative either. And we don't have a lot of experienced artists. I'm the first one not to be good enough for those kind of things. I don't have a lot of experience either. So, we also have to develop our tools at the same moment. So, we always work with tools that are always changing a bit, improving, but also sometimes that doesn't work. So, we have to fix it. And it slows down a bit the process. We have a tough public, which is the online community, which is often very, very tough and critical. So, we have to face it and embrace it how we can, because we have to take good things out of it and not be too depressed or worried about it either. And it's also a disillusion audience because they see everything we do. So, we won't surprise the people that follow us on the project by the movie at the end. Almost everything would be known. So, that's also quite difficult for us to be able to bring the magic to it. But, and we also have a low budget, but those kind of things are very, very good for the creative process because it helps you focus on what's important, which is what we want to make, what we want to tell, what we want to show, and we have to find workarounds. We know that we don't have a lot of resources. We cannot do anything. So, we have to be very, very careful about how we work and how we want to show the movie at the end. A very good example would be, I don't know if you remember, Joe's from Steven Spielberg. I think everybody have seen this movie. They had very, very big limitation. The shark was terrible.  So, they basically decided not to show it in the movie because it was too fake. So, out of this limitation, they managed to make a very, very scary movie without actually showing it too much. So, the audience was actually more scared from what they don't see, from what they do see. So, there is lots of things like this. If you are clever enough, it can be a good thing to not have a lot of money. So, we went to many, many directions. This project started one year ago. So, we had many, many variations of the script. So, I won't show you the scripts, but ideas we had for titles and ideas I had for just visuals out of the movie. So, it was early researchers. As you can see, there's always something related to washing machines. And then, it becomes the Cosmos Landerman. So, I won't go into the detail of those ideas right now. I just wanted to show you rough things. And of course, now, it's the spoiler order at the moment. So, if you don't want to be spoiled, well, this will last for 20 minutes at least. So, the main target for this was to, for the script, for the script part was to secure this concept to have multiple words into the core of the story so that you cannot tell this story without this concept. So, that was the most struggling thing we had to deal with at the beginning. And I had to work first with Regis Jolin in France, which is a scriptwriter I have worked with before, which is a very good scriptwriter, but he was too much struggling about the main theme of the movie, which is, as you can see, this color, about love, mostly. So, he struggled a lot. And then, I met Esther, which is here, so she might join me a bit to talk a bit about it. Right, yeah. Well, that's a good starter to start with the love story. The good thing, I think, was that we really understood, or it started basically from Mathieu's idea of the core of the story, and I could really relate to it. So, what we worked on mostly in the beginning, we were sitting there for a weekend or something or three days at the Blender Institute, fed by Tom with cookies and coffee and all kinds of things. And we worked on what is really the core of the story. So, what is the theme, what is the feeling that you want to walk out of the cinema with if you ever go to a cinema, that is. And we really agreed on this, and we could really both feel it, but we had to grasp it still. So, first we talked a lot about what is that really, what is that theme, what is it really, and then we started to work on how on God's earth are we going to make it work, that you have a main character who changes shape, who changes environment and then still you want to go along with him and still you believe it and still you feel with him. And it's basically, to be honest, everyone, this is storytelling suicide, right? So, we're trying to do something that's basically impossible because when I teach at the film academy I also say to my students if you want to make something then you have to start from the core and then build from the inside out and not from the outside in. And now we basically have sort of one thing that we know is that we want to use all the talents all over the world from all these different people who can make these wonderful animations and we want to put all these different worlds into one story is really hard, it's really hard. But I think it's going really well so far but what is happening at the moment is that we are still trying to find, we're always trying to get back to the core which means that we try out different things Mathieu comes with new ideas, I come with new ideas basically the whole team does that and then we try them out I write a new version of the script and again and again and again and again and again and then again and then we try it out in the animatic and then we find out there that certain things don't work or we stray too far from the core of the story and then basically I have to cut things down back to what that core is that we basically agree on very well so that's a very good thing about this project then that's where we are still actually and it's true what Mathieu says is that it's really hard in the sense that we have a very tough audience which is fine but this process of trying out the story and then seeing it on the screen and then finding out what works and what doesn't is very special about animation because I also write at the moment I'm writing for a political drama series which is totally different but basically then you take a script you go on to the set and you have your actors and they try out things and then you see what works and what doesn't and then in the editing you tell the story again and here we have to do all of that beforehand and it's a real challenge but yeah so far so good but what we are showing are you going to show some of the animatic all of it? Not all of it Thank God I was just showing it to my sister at home and she has nothing to do with film and the good thing was that she really did understand the core of it of our main character and the problem but some things that we also we both worry about she immediately picked them out so I'm gonna just go back to the writing table and just Please I'm just gonna cut things out Okay so yeah Okay yeah so this also leads us to discussing the tone of the movie which is again very poetic very romantic movie it's even though it's very visual it has to have a pace and an indie tone out of it we also discussed limitation for the audience if we are making a kids movie or not it's not but it's also not only for adults so we might have PG-13 maybe not we are not trying to force it so we'll see what happens but it's for everyone I already talked about this so that's fine so now I just wanted to talk a bit about the script what's the story about what it looks like so again I have to talk images will come if you show you so so we are always working on the feature film story and on the pilot also so we decided to make the pilot the 15 first minutes of the whole film so basically we want to be sure that when you finish the 15 minutes of the pilot you desperately want to see the 70 more minutes that are after so it's not we are not designing this to be very frustrating like what happens next but you have to feel that there is at least one hour more behind it that's our main goal so the whole story is about it's a bit mythological at first we have a main character which is called Victor that is kind of an angel that was doomed for eternity to recreate love he was in love with the wrong person he was kind of a god and he fell in love with the human and he was doomed because this cannot happen in god's world usually so he was doomed to recreate love if he wanted to grab his love back so weirdly this guy designed a cosmos landromat which is a real landromat and in each washing machines he have access to every world that exist so he through them he picks two characters and decide to send them through all those machines in a specific order and order in a specific amount of time to create love out of them so he basically tries to build love out of two person through a journey he designed for them and that's our story so that's what happens to our two main characters Frank and Tara they have been picked by this guy and send through those journeys just to fall in love together and the main question is would it work or not I don't want to spoil everything but we know no we don't well we might not know it has to change we have time for it to change so so then we have three main characters and now we talk about the character design a bit so I just explain you who is Victor basically and it was the character he has the most trouble on because he has many many faces possible because since he is such a mythological figure we went to many many directions he is related to love he is related to God he is related to a lot of things to angels, to many many figures so we had lots of directions possible lots of designs we worked with David Revoy on it we worked with Sarah on it and it was like a ping pong at first but then slowly Sarah took over so the first David's designs there is a reference of Guy White as you can see ok so yeah Victor was really a controversial character since the beginning we've been like thinking about him for months so as you can see he went like from a black fat guy to a thin a blonde guy we also went through the big blonde guy and also so it's really it went through all the personalities he could do so the idea was he had to have a deep history like he has a drama in his life and we wanted to show it somehow but the main struggle was when you see Victor for the first time you have to ask a question like who's that guy where is he from and that was kind of the thing that was kind of hard of having without being cliché finding something new anyway it shouldn't have to be too obvious we were really struggling on the fact that he has to feel a bit broken that you instantly feel that he has a lot of history is not cliché you have to feel how deep he can be so yeah it goes so we went to this, which is your design yeah so that was the final design that was yeah like it's really recent it's still it was still controversial like no not everybody well after all the history of Victor like why this one and why not the black guy or what not but the thing is like the last research we did was trying to was seeing like Robinson Crusoe references because he's a guy that has a lot like has lived a lot and is a bit used so that's why he has a beard like we have to feel that he's beautiful he's a beautiful guy because he's capitan somehow so he has to be handsome but also we have to feel that he's a bit used he's been like letting himself go a little bit so we agreed that that this red headed guy could work and yeah and we started like developing it and that's how Victor is now and then from drawing to 3D because we have Angela which was modeling on Sintel 2, she was making awesome 3D models for Sintel and she works for us too now so that's her first versions of it it's the same it's the same and here it goes so it's very first models first craft models for layout mainly so this is where Victor is so to summarize it again it was very tricky to have this back and forth and all those directions as you can see it was very confused at first but we had to narrow it down and be sure what was that's the good thing about those kind of processes you can really pick what is important for the character so we wanted him to be to have an eternal feeling so the red thing which is trapped and he is trapped literally so having him a bit used as he is with the long beard was a very good idea having red head it's also something good because it brings back some deval myth that is in culture usually in main cultures ideas is that red has to be killed I don't really know why but it's often the case and we wanted him to be also quite elegant because still he has to evoke some kind of romanticism feeling so we agreed on deciding that this has all those key things into it even though maybe some other design had interesting stuff too they won't filled enough with everything we need so let's go to our other character now it's not a design it's a real one oh fuck that's broken sorry oh that's something broken sorry you shouldn't see that in that order check it well this is frank oh sorry you don't see anything frank design so this is our main character and he was more obvious even though it's also tricky because obvious characters then becomes very tricky to be original so frank is a sheep living on an island which is basically a prison very very small island and it's been like 40 years it's on this small island and he wants to desperately escape he wants to enjoy life he knows there's something else than this tiny tiny island so our main references was that guy first which is quite used but yet tender or something like this too can work yeah that's a sheep that works and gathering all those things into a sheep was also a struggle we had a bit of the same process with David and Sarah trying to do ping-pongs so this is first David designs of a tired old depressed sheep but it's not a character that's given up it doesn't have to be too sad so it was always a balanced idea to have him trapped into his own fur stuff like that so we had many many variations out of it and then we decided to pick this one which is against Sarah's well as Matthew said the sheep was also kind of a struggle it was also like about the style there was a lot of discussion about style and what style is needed for the first world and so the sheep went from really caricature to really realist and then we tried to come back actually the really can I go back yeah like this April from David it wasn't one of the first one that he did I don't know the first day I think the second day and really thought that it was really good that it was at the same time pathetic and proud and which was really so after making 3D test and everything we decided to try to go back a bit to the origin to this first drawing but also there you can see also I mainly was working on the jungle world at that moment and so when it was like moment to wrap it up like to have like final characters for modeling and it's really important that we recognize Frank in the jungle and in the like in all worlds of course so basically my ship design is retaking the David's acrylic and trying also to match a bit the face with the caterpillar that had this too long eyes drop eyes that makes him different that's what characterizes him so in every world if we see those long-shaped eyes of this suicidal ship well it's Frank so just to make something sure because I don't know if you follow the project from closely or not but just to be sure on the story side he has to change appearances because every time when he meets Victor the angel figures he will give him a timer something that will every 5 minutes roughly send him to the next world so in every 5 minutes he will change appearances and the world is living in Victor which is his reality he comes from the island and he's thrown through a tornado a magic tornado to the first world out of mainly for the feature film in which he becomes a caterpillar so he's very tiny and he's pink so he's green but anyway so that's why we have to be sure that we recognizes him as he goes through many many iterations of character designs he has to be a robot, he has to be a cup of tea and many things and every time we have to recognize that he's frank instantly so that's always the struggle we had and that's also why we had to find some very specific ways of recognizing him without being too obvious that it's written on his face like yeah I'm frank so the teardrop eyes was something very strong that works well every time and then we started to make a 3D model out of it so just to show you the process of design between Angela and Sarah so that they you can explain yeah this is why we thought it was interesting to show a bit of workflow so yeah that was the first model Angela sent me and of course drawing I try to be as precise as I can but there is always interpretation in between Angela is really making a super good job with the modeling but we also need some back and forth of correction so you can see just how we are dealing she's working from Montreal she's in Montreal Canada so we are like reusing the wrist pencil for the feedback so you can see like adjustments here like we really want to have the shape of the head to be a triangle like at first she was trying to keep the rounded eyes cause it's of course well that's the normal way and that's better for rigging but in that character we will just make everyone life difficult and make them not round so the rigour will have a hard time to do it but that's life haha yeah and this is for the profile too so also in 3D I saw that my design was a bit too tall it wasn't working so I was asking her for less tall also well of course it has to have a hair so what you see it's just geometry that has to represent hair but it will not be like that of course haha so yeah the idea is that his ears are completely buried into his lot of hair and yeah so what character is Frank and will I guess reappear in other world is that his head is completely stuck in his fur he is trapped in his body so that's kind of the idea that's also why the caterpillar worked because it's also like that he's a a guy that's trapped by his destiny and he wants somehow to find a way haha haha that's very beautiful I like so we have also some examples for secondary characters in the jungle scene there is also like a mean character that tries to eat the caterpillar so it's the frog we had Pablo designing a first version of it so we had this at first from Pablo and then Sarah also proposed another design which was quite more monstrous and based on Frank's reference and designs I forgot to give you that it's okay I'm really a fan of Frank I don't know if you know him but it's a Belgian draw was but well at least in Belgium he's like a super like home and he makes really creepy awesome characters this was completely inspired in one drawing of him he likes both so we made a mix and the mix was I'm trying so yeah exactly so yeah then we tried to have like the slimy creepy one with the head of Pablo that was better than mine so and we tried to make one new creature with a really like how do you say the neck squishy neck like really with the wrinkles and he has the ability to stretch his hair like really long so it has to be scary again I can't wait for maybe next year when someone will talk about the rigs of the movie and the little stuff you see inside his belly are caterpillars so it was inspired from a castarican frog that is completely transparent you can see his like the inside like the digestive system and everything and when I saw that it was like what if we see the caterpillar he's eaten so yeah that was kind of the idea and we also designed the two worlds we have so the island the jungle so we'll just show the jungle right now because it's the more advanced and various thing we have so let's start with it so again it's your designs mostly so we went to many many horror situations also we started with a very real jungle with a red or pink caterpillar Tara is an albino's character so she's always white and she's a butterfly in this world so you started to designs also the vegetation like the flowers and plants so what was the inspiration for the jungle so at first yes it was kind of a normal jungle but we really want like the audience to understand that he's going into a really new world that has nothing to do with this like with it has to be new it's not reality it's a new world made of a lot of new things so we made a style board reference board like with pink forest mushrooms and slimy stuff and how to make this jungle weird and beautiful and so so we this one was one of the first where we kind of really saw how we wanted the jungle to be we wanted it to be bubbly and slimy and with a lot of mushrooms and pink so maybe PG-13 on this one I don't know yeah and the bubbles was also like to have a reminder that we are in a washing machine world so it has bubbles everywhere so it's a bit trippy but I think it can work so yeah that's when they're on the top of the jungle yeah that's with the frog and Frank that's just in front of him when we are the caterpillars this is a color board for the other scene when Frank meets Tara exactly that's for the beginning of the jungle when Frank is on a leaf so the idea is that since Frank works really well being green we wanted him to pop out always so the jungle being pink would really help us for that so this is a layout drawing so you can see where the history begins and ends I guess that's all the phase so we are beginning almost on the top of the tree in a leaf and we fall on the where you see all the branches and we fall where you see the mushrooms and we fall again and then we go up again so it's like everything is going on on the single tree almost yeah it's already red again it's just to finish with designs we also have the final character which is Tara the girl Frank will ask to fall in love with he will meet her in the jungle she's a butterfly we have also lots of ideas and references she's a strong feminine character she's going through worlds for a long time now and she's enjoying it she's almost became an addict out of it, she really liked this so we had references like her from Eternal Sunshine of the Spotless Minds for example those kind of character which has a child with bubbly and funny but yet that something is wrong about them you don't really know why so we had also lots of iteration on designs just to find the right shape of the face also the right body shapes but it was maybe too too young and cute so we tried to make her more feminine also so she became more like this and a bit more insecty also even if this was a bit extreme and then we finally have this again from you so this went also to 3D I don't have the 3D images I didn't have the renders but you can see them on the blog and on the cloud so it's possible to check it out but it's working quite well I'm spinning it no worries so I'm just wondering is there an Icelandic guy in the room especially Yalty he's not ok so he he died, I don't know he's sleeping so he was supposed to talk about the animation so I'll do it but we don't have a lot of animation so maybe that's why he skipped it I don't know I will I just want to focus on Terra's case so again she's about to fly to fill the scale so butterflies and insects are very small and very fast so I just want to show a few examples of real references from butterflies so this is very small very nervous, shaky very impatient and that totally fits the character which has to be like always searching for the next thing she's very anxious en voyant, she's like a junkie she's always searching for the next world and she always wants to experience more out of life so we also had the crane flies for references so it's again a bit shaky a bit nervous always always searching for the right place to put their legs almost not confident but she always wanted more so that's very interesting characters for motion references because those guys always look very nice and sweet you don't want to hurt them even though they look like big mosquitoes so and so Yati worked on this he's playing I think it is no it's not, it's playing so this is the first version the first animation test which are very rough things but already gives a good feeling out of it and we were testing this for the rigs also seeing if the model will support this if the designs will hold up and actually it worked quite well already so we were discussing also if the wings should bend or not, if it has to be like a real butterfly wings which usually don't bend a lot because it's very very small so yeah this is rough things to show because we are still in pre-production so we don't have a lot of animation but you see most of them now Just to say this animation test with a rig test and everything has been super useful to see the proportion of the characters work because sometimes go crazy on design and then you can make it walk or whatever and it already raises questions about potential render issues like motion blur effect if you have a close up of a butterfly that actually goes as fast as a real butterfly who have crazy motion blur happening that goes also with render problems you always have so it's already good to tackle technical issues on those design process so just have a small eye candy also haha we love this so can keep watching it awesome and then there is the storyboarding so we are heavily working on storyboarding as rewrite so that's a bit complicated but it works quite well because it helps us to really realize what's the pace what's the tempo of the movie is it's not always obvious when you go through a script especially on an animation project so you need a final script and we almost have it now so that's good we are writing and rewriting the film even when we storyboard because then you make other decisions the script is the plot it's about what you should see and feel but then you have to decide how you will show this and make the audience feel it and rewrite also just by framing so that's a very interesting process but it's also a very obscure process when you're not used to see storyboards or animatics because it's very cold there's no colors, there's no motion the sound is very very crappy I recorded the voices the animatic you see is with Francesco's voices, Pablo's voices Sarah's voice also so that's not the real voices that's not the good actors intention so that always feels a bit off but it's very very useful for us just to see how long the shots are how many people we see talking just to list all the shots all the production process is very very more clear with those kind of things so this is a few drawings from Mathias, Mathias Mendoria so he made a very very tremendous work on this draw like almost, I think he's close to 1000 drawings now because I keep asking him to redo stuff so yeah, this is just one frame per second of a few of a third of what he's done so it's like a tremendous, you've seen all the movie right now, so enjoy so yeah it really helps to edit it and put this storyboard into an animatic to really clear length framing voices and all those things that are raised upon it for music also if you have a composer working on it it helps him to see where are the key moments in the movie, it's better than on a script so now I will show you the jungle scene if you agree on it it's only the beginning of it, so just you don't see the island part so when Frank meets Victor or for deal that will send him into multiple worlds he's sent into a giant beautiful tornado that brings him here, so it just he was a ship just before for 40 years and now he wakes up as a caterpillar in a jungle so can we dim the lights please oh what line I wasn't moving I mean what's happening bro what's happening what's happening no I'm not one of you no I'm I am a sheep who do you think you are always smart as a real day but he's he's he's got yourself a special delivery there huh who's Victor who are you love to say in chat so many lives so little time that's it, so I don't know if Francesco is here but yeah I see you so thank you a lot for your performance so this is like you've seen four I think it's four minutes of the movie so it's half of the jungle scene and as you see it so it already helps a lot to see what happens what are the tempo, the rhythm what assets you need stuff like that so from a script point of view it helps a lot to see if our ideas work out of a movie so now we are starting production out of this so we are starting to do the layout of the movie the first scene of the jungle scene that are starting on layout process since last week we also have the casting we meet the first batch of actors on Tuesday so we also we have plans recording session with them we have all the animation work to focus on and the render lighting also which has not started yet so at least research for it so that's our targets for the next year so see you next year with the movie for questions do we have any questions regarding the script the development of the movie yes? just two quick questions one is the butterfly why did you give her only four feet four legs well actually they have only four feet yes that might be really weird I saw a lot of references there is one, there is butterfly with six and with four there is both of them you are biologist? yes you are maybe but at least in the reference I've seen visually I see four I showed the reference I've shown they only have four I counted them I did also are they like little and like that on a look through that the other thing is I thought it was really nice because the washing machines what they do is turn around all the time so the result is that they basically dismiss gravity or shake in a way that is not of our word and I thought you may wanted to use this feature which is really curious difficult to render and to show are you planning to do this? yes we do but we use those symbols really to for multiple reasons but we always kept on the writing process those symbols of washing machine and laundry thing to mix stuff together cleaning that is really also somehow related to the love feeling that is you take stuff you mix them it can be on several levels so we always try to keep a symbol vocabulary out of this through the movie and victors so I was searching for the so all butterfly have six I'm asking now we have to correct it yeah I know but I was really surprised watching butterfly references by counting four thanks guys it's fantasy personally with four legs just like for the silhouette and for the expression it's sometimes a bit easier for the animator and also for lecture it's easier to have four than six when you have six it becomes like a lot of legs and you just see that a lot of legs and less expression but I'm not saying that it shouldn't have have six but I just don't see what two more legs would add to the expression or the design in a functionality thinking artsy way it's not but this jungle is not correct at all it's pink so anyway from a biology point of view I think our ship are also not right other question maybe yes have you seen the movie cloud atlas because there's also what movie? cloud atlas ah no I didn't you did it's a really long movie but the story is really hard to follow but it's a bit similar so if you might wanna watch it remember when he was out I was like it's more than three hours something like this so I was like yeah no that's one of those films where the idea is really great but you sort of get lost in watching these people and thinking oh that's the same guy that's the same actor but he's a different guy now or he's a related or so so what we try to do is sort of let the technique get out of the way so that you can just be in the story basically also the answer to the four or six legs thing I think because it is fantasy and it's about the feeling that the characters bring across and it shouldn't get in a way that you're watching oh that's the same guy but his looks are different now so and the same actually also with the laundromat thing with the washing machine the symbolism is exactly right because it's about changing shape about washing yourself clean and then coming out in a different way the cycle which life is and so in that way we try to fit it in and also make it funny and also make it exciting but only at the moment where it really matters and you know you don't get confused or something it just makes some mystery or suspense or something but yeah that's yeah it's just falling into falling into place at the moment I think all those things do we have time for one more question or that's it you have a question you have a question oh I I wanted to show on screen but I would like to add what these two people did say is that in January, February they were walking on the initial concept and we had really no idea how to get this to work with all those things we had a workshop for three days and they both came up with this brilliant idea it was really started working magically with this laundromat with the laundromat manager with the weird creepy style with the ship because suddenly you could see it how it could work and that's really important that you have a script or a storyline, a character and a number of events that sound absurdist logically that's the whole magic of this film in the storytelling you will do crazy things and you might think what come on but it is interesting and engaging and you want to see the next and the next and the next so that's what we are going to do thank you I'm going to prepare this I forgot that there is also a production side of the whole story we did a whole crowdfunding of supporters and in the whole theme of being open I wanted to show a little bit the campaign statistics so where did we end up with what are we doing at the moment so how are we doing so I think people remember the campaign we had this big statistic so people could subscribe to be a supporter for a monthly contribution of 10 euros people could give for 18 months a contribution to get the credit already or you had to pay for 18 months so you could get the credit later or you could get a gold or a bronze or silver credit and a number of perks for which people could subscribe and the target was to get 10,000 people on board which would give us sufficient regular income to have all those teams to start working on the future film so in the end 2943 subscribers or people who pled to subscribe they didn't all pay this was really awesome there's a lot of people but unfortunately that's not really making a feature film that was the reason why we moved on to make a pilot so there's a number of others there's some gold sponsors custom payments this was not really fitting in a category we paid sponsors who paid for 18 months and people who paid 20 euros for the download only option the order is silver and the bronze sponsors so all in all we did gather a lot of money and this is the biggest aircraft from the foundation of the institute I forbid so we can continue this project we are happy to continue it but we are not there yet for people who did pay the initial 45 euros for cloud subscription and for 3 months access we still need about 70% to renew so there's a thousand people who have renewed a little bit over a thousand there's one 200 people who paid already for 18 months and we still want to have another thousand people at least to renew their cloud subscription which is important for us that means that we can continue and hire more people hire more developers, hire more artists and make this film really awesome and present that next year and so on so if you see this go to cloud or blender.org click on renew or add a new subscription and we will be awesome thank you and just a final word about the development process of the film because I had to choose for the talk I prefer to focus on the artistic part but if you want to talk with me about what we are trying to make also for the tools of the movie because we are heavily working on this with the developers feel free to ask questions thank you