The Past

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The Past

Chun-Hsiang Huang

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THE PAST

BY

CHUN-HSIANG HUANG

MFA lMAGEING ARTS/COMPUTER ANIMATION

SCHOOL OF FILM AND ANIMATION

ROCHESTER INSTITUTE OF TECHNOLOGY

ROCHESTER

,

NEW YORK

Stephanie Maxwell

Stephanie Maxwell

,

Chair

Professor

School of Film and Animation

Skip Battaglia

Skip Battaglia

Professor

School of Film and Animation

Arnie Sirlin

Arnie Sirlin

Assistant Professor

School of Film and Animation

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Table

of

Contents

Title Page

Permission Sheet

Table of _Contents

Thesis Report

Preproduction

Concept 1

Story

1

Character Design 2

Environment Design 5

Storyboarding

and Shots Separation > 6

Production

Modeling

7

Texturing

- --- 8

Animation - - - 9

Lighting and

Rendering

- - - 10

Dynamics - 11

Postproduction

Compositing

- - 12

Editing

--13

Sound Effect 13

Screening - - 13

Appendix A

Original Thesis Proposal

Appendix B

Complete Storyboard

Appendix C

Preproduction

Concept

Several years _ago, when I was a teenager in high school, I was addicted to a series of science

fiction novels which werewritten _byNi-Kuang, a_very famousnovelistin _HongKong. The hero

inthosenovels isanexplorerknownasWesley.He isanarchaeologist,a_linguist,a martial artist,

and a writer with a_{very strong} curiosity. Because ofthis _strong curiosity, he investigates many

legends handed down from far back inthe past, and explores_many mysteriesthathappen in the

world. He is always at risk of

losing

his life to get to the bottom of an affair. Through his

intelligence, wisdom, courage and_amazing martial art_skills, hepassesthrough dangeragain and

againtofindthe truthofthemystery.

Nameless _Hair, one of Wesley's adventure stories _involving aliens, greatly inspired my

imagination. The _story describeswho gods _are, where _theycome _from, and _{why they} come. In

the _story, all _gods, from all cultures, are _really aliens that exist on another planet that has an

advanced _technology and higher form of civilization. These alien

"gods"

believe that human

beings areflawedandbad. _{Therefore, they}cometoearthin_manydifferentforms and atdifferent

timeswiththe purposetoenlighten people. _However, withthis enlightenment comes problems

-humans continue to fight each other in the name oftheir gods. Although Nameless Hair is a

science fictionnovel, itaddressesthecentraltheme thatgods/aliens came toteachhuman beings

how to love. _{Unfortunately, bloody} wars are a major result of _asserting different religious

principles.

Is it importantto changethe badness ofhuman nature? Are religious principles appropriate for

the human being? _Or, is human nature _really evil? What ifthe gods are _wrong about human

nature? Those questions have always resonated in _{my mind,} and _they have also inspired me to

make_myfilm, ThePast.

Story

The _sky is covered with dark brown clouds. Faint light from the sun passes through banks of

clouds and illuminates a savage land. Volcanoeserupt, and lava flows. It is a_{young Earth} with

fire, lava, smoke and rock.A huge 'stone

egg'

stands on a flatarea ofland surrounded _bylava.

Suddenly the _{egg breaks into} fragments. After a blaze of light irradiates from the inner _egg,

HumanandDevil areborn.HumanandDevilrun onan open _field,

fly

in_{the sky,}andhunt inthe

From far away inspace, Godcomes_{down. His}

body

_iscovered with splendor,whichistooharsh

to face. _Only machine hands and feet are

barely

visible. God throws down two luminous cuffs

and an expressionless mask in frontofMan and Devil. _Theygaze attheseobjects on theground

inshock.Aftera

long

_roar,thebattle begins.

God is_{powerful, speedy,} and subtle.Nomatterhow hard HumanandDevil_{fight, they}can't even

touch God. In a_{flash, they} lose the battle. Man picks _up a cuff and locks it on his _{wrists, then}

kneels downand puts onthemask.Devil still standstallwithhis countlesswounds,and stares at

God furiously. Godraises its machine_hand, creates several luminous _arrows, andthen shoots at

Devil and nails Devil to the ground. _Suddenly, the ground splits and Devil falls down into an

endless fire hole. God dissolves intheair. The_skyturns_blue,andHumankeepskneeling.

Character Design

Human

This character represents the original human being. However, I added some features that real

human beings don't have. Buthe losesthemafterthefightandbecomesan_ordinaryman.

\\V^:

^v

Figure01:The ConceptofHuman

People believe that the eyes arethe windowsofthe human spirit. Basedonthis _idea, I added a

[image:6.530.92.443.327.611.2]

features, such as _long ears and _brows, to make his character appear more powerful than an

ordinary human. Because he was born with _Devil, Human's appearance should be related to

Devil. To create _{this connection, I} made an outfit with shell-like armor and _sharp horns for

Human. _{In addition, the}firetotem on hisarmor andthefiretattooon his_bodyare related to the

environment wherehe is born.

Devil

It is believedthat in Chinathat thedragon is an auspicious symbol.Whereveradragon appears,

goodthings are _going to happen. _However, in the _West, dragons are considered _evil, cruel and

ferocious. The appearances ofEastern and Western dragons are_very differentas well. Itried to

combine features ofthese two different dragon representations because the Devil character has

the_dualitytobe good orbad.Ifitwinsthefight, it isgood, otherwise, it is bad. Thisisthebasic

ideaof_whyDevil isevil.

[image:7.530.88.436.263.637.2]

God

Inthe_story, Godis an alien and almost machine-like. Arobotbecamethe best formtorepresent

the underlying nature of this character. _However, the idea of a robot god also seemed too

commonplace.SoI addedacostumeto_{this character,} asintheclassic imageofagod inagown.

The

body

ofthischaracter andthegown glow_harshly,sothatGodis too_almightyto bestared at.

Furthermore,itsmachinehandsandfeetare_slightlycovered_bythe_shinygown.Inordertomake

[image:8.530.41.499.145.341.2]

thischaracter_{looks mysterious, it isenvelopedin harsh lightthroughout thefilm.}

Figure 03:TheConceptofGod

Fish

Fish is an ancient fish with features that resemble _deep ocean fish. _Moreover, in order to

representits_suffering from Human'sattack inthe story,Itried tomodelits facetolookalittle bit

likea_man,andthuscreate empathy.

[image:8.530.216.492.437.668.2]

Environment Design

Basically, therearethreemain scenesinthisfilm:theBirthofthe_{World, Huntingalong}the_Coast,

andtheBattle intheField.

Scene 1:The BirthoftheWorld

This storytakesplaceatthe_very

beginning

ofthe_world, when_Earth,Human andDevil arejust

born. _{Volcanoes, lava, fire, smoke,} jagged rocks and dark thick clouds are essentials to this

[image:9.530.73.457.186.446.2]

developing

environment.

Figure 05:The ConceptofScene 1

Scene 2:HuntingAlongtheCoast

Inthis scene,Earth is_becoming more stable.The sky isbright,theclouds arethinandtheocean

has formed. Because Earth has just beencreated, cliffsare_jagged, andthe oceanis notthe_deep

bluethatit isnowadays,butyellow andturbid.

Scene3: BattleintheField

Thefight happens inthe fieldwhereHumanandDevilareborn. The_surrounding environmentis

thesame asit is in Scene One.However,sincetheEarthis_becomingmore_stable,thereisn't_lava,

Figure 06: The ConceptofScene 2 Figure 07: The ConceptofScene 3

Stone Egg

Human and Devil are born in a stone egg. In contrast to the alien _God, Human and Devil are

nativeto theearth. On_{this concept,}thestone_{egg is}supposed tolooksimilarto thejaggedrocks

aroundit. Thiswill_helptheaudienceto_developtheideathat theearthbearsHumanandDevil.

'

j^i_{A 1} StoneEgg

im

WW' y..

J

theBase

H^^

^Qkfc'

.4

^^rfW

A

j*

"*;-:''/!. Bk*:'^jCT

[image:10.530.39.497.39.205.2]

$l!td

Figure 08: The ConceptofStone_Egg

Storyboardingand ShotsSeparation

As a _visualist, I attach great importance to storyboarding. It depicts the ideas and _story as a

graphic respresentation. It also helps me to think about how the _story is to be _told, where the

characters are to move, and what kind oftransition effects should take place between shots.

Having hadseveral _{storyboarding} experiences before producing_{my thesis} film, I tried to make thisone _different,not_onlyintermsofthegraphic style,butalsointermsofthecreative process.

[image:10.530.109.451.323.516.2]

the storyboard until all _my characters had been modeled and textured. _Therefore, instead of

drawing

characters ineachframe of_{the storyboard, I}justposturedthecharacters, quick rendered them and pasted them onthe storyboard. This procedure proceeds auspicious forthree reasons.

Firstly, this approach saves

having

to redrawthroughout. _Secondly,

by

means of_posturing the

character, Icould analyze and decideeachmovementineach shot muchbetter. _Thirdly, it helped

metoshortenthe_{storyboarding}time.

The full storywas_{broken down into}70shots. Afterthestoryboardwas_done, Imade an exposure

sheet.Theexposure sheet listsalloftheshotsina numbered_order,andincludes shotdescriptions and length. This was critical

during

the process of production. It helped me to visualize and

connect separate shots without

losing

thewhole structure ofthestory.

Production

Modeling

Thethreemaincharacters: _Human, Deviland_God,were made of polygons andNURBS in Alias Maya.I used aMel script calledConnectPolygonShape1

toincreasethe_workingefficiency. The backgrounds, fishand stone_eggwere made oflow-polygons in AliasMaya, andthen detailed in high-polygons with Pixologic ZBrush. The _{hair, fur,} cloth and wings ofthe characters were

anotherissue

during

_modeling,whichIwilldiscuss intheDynamicssection ofthis thesis.

Human, Devil and God were modeled in the traditional method: first _{by drawing}the front and

side outlines of _{the characters,} and then _modeling the characters in Maya

by

_following the

outlines. _However,becausetheshape ofDevil is_{pretty complex,}the traditionalmethodproceeds

to be too slow for this character. After the three characters'

basic modeling had been done, I

started to do research to find another method to model _{something very} complex and refined.

ZBrush2

was what I chose to solve the problem. In some scenes, the whole background is

composed ofjagged rocks. _They were all made in _ZBrush, saved in the _.obj format and then

imported into Maya. The fish and stone _egg were also modeled in the traditional method

combined with the new one. I modeled the _low-poly in Maya first, imported the model into

ZBrush and sculptured it in _high-polymode. After_learning ZBrush, my modeling process sped

Figure09: CharactersModeledinMaya

Figure10: ObjectsModeledin Zbrush

Texturing

The traditional method of_texturing starts with_creating a_UVmap in Maya, paintingtextures on

[image:12.530.31.494.31.552.2]

paintingtextures in _Photoshop, it is hard to know if_theywill fitthe 3D model. _Savingthem in

Photoshop, and _posting them backto Mayato makea quick _rendering is the_{only way} to tell if

the textures fit the model, or not. If_{they don't,} then you have to go back to _Photoshop and

retouch the _image, and repeat the above described process. Because this traditional texturing

process needsto _{be constantlyrepeated,} it always costsa lot oftime _{to only texturing} a single

object,and_{especially large}complex objects.

Afterthe _modelingand _texturingforthethree maincharactershad been _done, I learnedZBrush

and started to combine traditional _modeling and _texturing methods with new ones, such as

texturing in ZBrush and

Photoshop

simultaneously. In _ZBrush, a 3D model can be textured

directly

without_{using Photoshop. This}allowedmeto_greatly speed _upthe_texturingprocess. All

the_sceneryandtherestofthepropsin The PastweretexturedinZBrush.

Animation

In this _film, the _rigging system for each character was designed for each movement and

appearance. The _{rigging setup for}the three main characters was produced after _consulting the

book, Character_RiggingandAnimation_byname.Thefacialexpression animation ofHumanand

Devil was influenced _bythe_{book, Stop Staring by} name. The animating system ofthe fish was

totally different fromthe others.Insteadof_setting skeletonsinthe fish_{body, I simply} deformed

thefishto flow_alonga motion path.Thisisa great method for fishor snake animation.

[image:13.530.91.438.398.650.2]

i ; i

In order to simulate manual camera _{operation, most people} set lots ofkeys on the camera for

shaking motion. Some programmers like to write a MEL script to control it. In this _film, I assigned atexture with random white and black stains to the translation ofthe camera. It was

[image:14.530.87.450.105.325.2]

appliedtosimulate camera_shakingwheneverthecamerapanned.

Figure 12:_Groupthe_Camera,thenAssignaFractal Textureto theTranslateX, Y,Zofthe_Group

Lightingand_Rendering

Exceptforthe shot ofHuman _hunting in theocean, all scenes in this filmtake place in outdoor

settings. To simulate theoutdoor_lighting, I usedtraditionalthree-point

lighting

and combined it

with global illumination. Forthe three-point lighting, I used three directional lights for the_key

light, fill light and back rim light. For theglobal _{illumination,} I used a MELscript knowas GI

Joe3. _However, ifthere is Maya furorhair in_{the scene,} it_maytakeforeverto renderthe object.

The easiest _way to solve this rendering problem is to disconnect a light from the object ifthat

light isnothelpfulto theobject's_renderingtime.

Inthe scene whereHuman is_huntinga _fish,the _lighting is different. Underthesea, especially in

the _deep ocean, the light is hard to refract, and global illumination doesn't exist. A basic

three-point _lighting system is supposed to take care ofthis situation. So _first, I created several

lighting fogs beamed from the _top, and assigned an ocean surface video to them. This setting

creates _{many beams} of _{light radiating from} the _top that change their illumination and color

constantly.Ialso addedlotsof noisetothosebeamstomimicthemanyparticles underthesea.

Figure13: GIJoeFakeGlobal Illumination Figure 14:_{Lighting Fog}Beams

Dynamics

Dynamics challenged me a lot. First of_all, there wasMaya fur, hair andcloth on _{the character,}

Human. Because_they are all different _systems, I hadtowork ontheir simulation and _rendering

separately, then composite them _during postproduction. In some situations, Maya cloth didn't

work_well, so I _simplyconverted it_{to Maya softbody} for bettercontrol. The _galaxy inthe third

eye on the forehead ofHumanwas made _by Maya particles. As for Devil and _God, the wings

were made _{by Maya softbody,} and the gown was made _by Maya cloth. The Maya cloth

simulation takesthe longest time for thecomputerto calculate. Whenthecharacter moved_very

fast,thecomputer sometimes needed morethanone_daytocalculate a shot with_only300frames.

In SceneOne, Birth_ofthe _World, thevolcano smoke andthedarkcloud were made_byMaya 3D

fluid. Maya 3D fluid is_very good for_creating realistic appearance. _However, it_usually needs a

veryhuge caching file.Therefore,it isveryimportanttocreate a_cachingfile foraMaya 3D fluid

before renderinga_shot,orthecomputer will notbeabletohandle_renderinganddynamics atthe

sametime. The stone egg's_cracking was made_byMayarigidbody. The benefitof rigid _bodyis

in convertingthecollision movementto_keyframes. Ithelpsthecomputertorunfaster.

In Scene _{Two, Hunting Along}the _Coast, the ocean was made _by Mayafluid effects. When the

fishswamby,IusedMayaparticlestocreate someilluminatedpoints_floatingaroundinthewater.

Couplingthiswith light fogsmentioned inthe last chapter, the environment inthe depth ofthe

oceanwas completed.

[image:15.530.32.500.34.266.2]

In Scene_Three,Battle inthe_Field,countless Mayaparticleswere used. _Burningthe_fish,ground

explosion, shining cuffs,

lightning

arrows,

flying

sand,

hurtling

stones, etc, were all made _by

Mayaparticles. Because_theyare not_geometry, and sometimes _theyhad differentattributes,they

weresimulatedand rendered_separately,andthencomposited

during

postproduction.

Postproduction

Compositing

The refinement of The Past was completed

during

postproduction _compositing ofshots and

effects. Theapplication I used forthe_compostingworkis known asAfter_Effects,published _by

Adobe Systems. It is a program _{using layers}organized on atimeline to create composites from

stillimages or motionfootage. Dueto the hugemodelsandtexture images Ihadcreated_Maya,it

could not render _everything out. _Rendering each object _separately and _compositing all objects

during

postproductionwasthebest_wayto solvethis_renderingproblem. _Moreover,Icould make

color orbrightness corrections inpostproduction _{using After}Effectsratherthan in_Maya, which

would require muchmore_adjustingtime.

[image:16.530.18.512.326.416.2]

Background Images Middleground Foreground Dynamics

Figure 15:Sampleofthe_CompostingWork

Final

Inorderto simulatefilm cameralens_{effects, I}renderedmost oftheimageswithZ-depthlayerin

Maya. In After_Effects, the Z-depth layer canbe read andthedepth information can be used to

generate special_effects,suchas variationsin depthoffield.

Before After

Figure 16: Sampleof_UsingZ-Depth

[image:16.530.78.469.507.649.2]

Editing

Creating

proper coherent transitions between each shot is the goal ofthe_editing process. After

compositingand _creatingcompleted clips foreach shot inAfter_Effects, I usedFinal Cut Pro for

editing all shots into a film. Final Cut _Pro, created

by

Apple Inc., is a professional non-linear

editing application. Unlike After _Effects, Final Cut Pro is built for speed with real time (RT).

Dynamic RT helped me to adjust the _{image quality} and frame _rate, and it was _especially

important _{in creating}thetransition between each cut. Besides_{changing the shot,} eachtransition

is intendedtohavea_{meaning in}thefilm._{For example, there} arefourshotsto describeHuman's

wearingthecuffsandmask.ThetransitionIused_amongthoseshots wasfade inand out.Theuse

ofthiskind oftransition inthe sequencenot_onlypointsto thesame_action, butalso referstothe

helplessnessofHuman.

Sound Effects

The source oftheready-made soundeffects inthisfilm wasthe School ofFilmandAnimation's

archived soundtrack collection.As forthe_Human,criesinthescene whenHuman'sthirdeye gets

shot,and in the scenewhen he wears_{the mask,} were recorded _by SOFAgraduate _{student, Isaac}

Holze.

Screening

The Past was completed one _day before its preview screening. Instead of _printing it out

immediately after _finishing, I planned to print it to a DV tape two hours before the screening.

However, in the process of_printing the film _{out, the} computer crashed. I worked two hours in

troubleshooting, whichincluded asking for_help fromSOFAtechnicians. _However,thecomputer

totally died. But because I always _backup files, I could open the file in another computer,

re-renderthe final _edit, and print outthe film. Sincethis process would take twomore _hours, I

decided I should cancel the _screening that day. _However, all _my thesis advisors and _many

students and audience members atthescreening were _willingto _stay inthe auditorium and wait

for my filmtobe completed. So Iwent ahead and printedit. Neverpromise a_screeninguntilthe

film has been completed is the lesson I learned. There are no words to represent how much I

appreciatetheaudiences'

supportthatnight.

1. The Connect Polygon Shape is a script written _by Dirk Bialluch which can connect attributes between low

polygon models andhighpolygonmodels.Thus,modelers and animators canhavethebenefitsof speed(workingon

lowpolygonmodels)andquality(renderingin highpolygon models).

2. ZBrush isamodeling,texturepaintingandillustrationapplication._{Its modeling}conceptistotallydifferentfrom

Maya.The workingenvironmentofZBrushiscloserto_{sculpturingby}hand.

3. GI Joe isa script written_byEmmanuel Campinwhichgenerates at_{least 32 sky lights}and 16groundlightsona

domeshapetoilluminatethescene globally.

AppendixA

Conceptual Statement

Somebelievers _say,"To believe inHimandto entertheeternal

life."

Some emperors _say,

"Let those who complied with me thrive and those who resisted me

perish."

And some

bosses say, "Eitheryou can do it or I have tolet you

go."

Those words are so _different,

yetI feelthat theiressenceisso similar.

Whereverpeople _{are, there}is rightand wrong. Whereverright and_wrongexist. Theissue

is: what is right and what is wrong? What is the truth ofthe ancient past? What _truly

happened between_God,

humanity

andtheDevil tocausethebalance nowadays? Iswhat

we, human

beings,

struggle with meaningful?Are we supposedto trustwhat we believe

now without questioning? If the _reality ofthe whole universe is not what we have

learned,

what should wedonext?

Though the cultural inheritance and _education, we learn to _tell, so-called "right from

wrong"

from the

day

we are born. Because of our social _morals, we lock our original

desires

deeply

into our _every cell. Then because of laws and _orders, we lose human

nature day-by-day. Iftheword

"Devil"

does nothave this evil _meaning andoriginal sin

has never _existed, and the desire is the primeval force ofhuman _life, then what should

peoplebelieve?

It'sa_storythat isoppositeof_Genesis,but it impliesa possible originaltruth.Aftera

long

time of formless _void, a man and _devil, two _beings, are bom with a

forming

nature. "Man"

does not stand for human beings nowadays, nor does "Devil" mean evil spirit.

They

live in the nature and follow the desires that come from their brains and their

bodies.

They

are _truly what _they are.

They

listen to what their blood tells them. Then another _{being, probably} a _God, an emperor or just an _authority, arrives.

Everything

changes, anditbecomestheworldweknow.

Treatment

Past

From flashes and a tangle of_{explosion, the} universe forms from the formless void. An

azure blue sky develops out ofthe turbulent atmosphere. An earth-like land mass takes

shape out offragments from far and near. The darkness, fire, and debris sinkbelow the

Under the _{sky spreading}

boundlessly

in

deep

_blue, a

being

is born among endless fire

beneaththe earth.

Crawling

outfrom the

dark,

_standingonthe surface and_staring atthe

skyline in the _distance, the

being

is separated into two beings. One resembles a normal

man, the otherhasmore monstrous features.

They

runontheopenfield together, swimin

the vast ocean and

fly

in the _sky through white clouds under sunshine.

They

run in an

openfield_together, swimina vast_ocean,and

fly

togetherinthe _skythroughwhite clouds

and sunshine.

They

fight each other for

food,

for _pleasure, and laugh together at the

beauty

of_{the world,}shouldertoshoulder.

From far _{away in space,} a strange

being

comes to earth. When it _arrives, it is covered

with flames. The atmospherebecomes_{very turbulent,} andtheland shakes violently. The

two earthbeings _gasp, shake and are blinded

by

thelightandheatofthenewcomer. The

earthbeingsrushtoward thenewcomer andfight itout offear.

The fight is _extremely violent _causing flames to radiate into _{space, the sky} flashes and

earthissplitinto several pieces.

The battle ends and flames disperse. Man pulls

flaming

chains from the _sky onto his

wrists and _feet, and then kneels

humbly

down on the ground. He reaches for the

monstrous

being

to convincehimto also kneel down in humblenessto the

fiery

invader.

Themonstrous one stands tall with countless

bleeding

wounds. He thrusts out his chest

with the strength left within him. Suddenly, the surface of the earth splits and the

monstrous one fallsdownintothe _endlessly

burning

fire beneaththeearth. Lockedin his

chain, the normal man struggles to preventthe other's fall. The invader floats in_{the air,}

looking

down on the earth andthen dissolves into the blue sky. Earthreturns to a calm

AppendixB

Scene1

Shot 07continued

roomoul/dose up The galaxy6aMar's third

Scene 2

Shot Shot 01 continued

Camera roomoutIlongshot

Description

pan camera/closeup Manlooksaiforward withhis hairfluttenngintheair.Then he turns to tace thecamera

Shot 01continued

pancamera/extremelongshot

Shot 01continued

trackingshotImediumCU Devilfliesnlothe shot

Scene 2

Shot 01continued

tracking,springshot/CU Thecameraspins to Devils head

Devi's eyessuddenly glow,

andthen rusdivegetsfaster

Scene 2

Shot 01continued

tracing, spmrwxjshot/meciumCU

ThecameraspinstoDevifs righthand.Devilputsdown hinghthandandopensthe

palm

Shot 01 continued

trackingshot/mediumCU

Man jumpsand holdsDevifs hand tightly.

Scene2

Shot 01continued

trackingshot/longshot

Man jumpsdown

Shot01continued

trackingshot/longshe*

Bothofthemflyupandup

togetheruntilturningintoa

Scene Scene3

Shot Shot 05

Camera roomm/extreme longshot

Description APOMonthe field(tying

forwardrapidly

Scene3

Shot06

stilshot/longshot

Manstandsupandlooksat

theright Devdraseshehead toMan,and thenlooks atthe righttoo

Scene Scene3

Shot Shol07

Camera lowangle tangshot

room in /extreme _longshot

APOV onthe fieldfrying

Scene Scene 4

Shot Shot 01 Camera Description Godra.s

; \ \

Scene Scene4 Shot Shot 04

Camera tiill (hoi i Description Godlooks

Scene Scene4 Shot Shot 05 Camera still shot/closeup Description Devilseems shocked

Scene Scene4 Shot Shol 05continued

Camera sldl sholI closeup Description Devil looksatGodin

Scene Scene4

Shot Shol 06

Camera sum shot; close Oescnpiion God

Scene Scene4 Shot Shol 06continued Camera slid shot/ close up Description Ihen clencheshis fist.

Shol07 trackingshot,i

Scene4 Shol 06

era pan camera ripfjon The Tai Chi everywhere

United

Scene Scene4 Shol Shot 09

Camera pancameraroomin1longshol Descnptio The Tai Chicircle enlargesIowa MeanwhileDevilsquatsdowna spreadshiswings

Scene Scenea Shot Shot 09continued

Camera pancamera,room in/fullshot Description Devilfluttersand |umpshighwh<

Scene Shot

Scene4

Shot09o

Description AfterDevilsoars highthecircle continues_enlaigingtowardMan

Scene Scene 4

Shot Shot 09conimueo

Camera pan camera, roorr Descnpno Afterlewsiepsba onthegroundha and makes a turn

Scene Scene4 Shot Shot10

Camera st.li shot,high Description Man turns fast waves ildown

Scene Scene4 Shot Shot11 Camera ""'"8""

all1uA 510 mforms from the sworeandStopieTai fromipreadingforwa d

&

Scene Scene4

Shol Shot 13

Camera high angleroomIn'verylongshot Oescriplion IIisthe POVo(Devi

Scene4

Shot17 ra SMI shol/ve Vcloseup ption Godputshis

Devils belly

ightm echanical palm on

Seen

Shot Shot 21

Camera slill shol closeup Description Devilgets shockedt

Shol Camera

Scene 4

Shol 22 trackingshol /_longshol Description Devilspreads wingsforward locover

hisbod/'orprotectingtheradiants attack

Scene Scene4

Shot Shot 23

Camera still shot'_longs While DevilI popsupDehi

Scene Scene4 Shot Shot23conlinui

Shot

md approachesDevil quickly

Shol 24

trackingshol. lowangleIcloseup Man'snghifootsteps intothebattle

h Ma. nghifoot

Scene Shot Scene 4 Shot20 Camera Description

still, than pan camera ' medium shol Godraiseshisrighthand,then alotot radiants appears around it WhileGotpointshis fingersatDevil,ail radiantslaunch lo Devil speedily

Trackwithradiants aftertheylaunch

Scene Scene4

Shot Shot25

Camera trackingshol/

Description Man'srighthandholdingthesword waves intothe battlerapidly

TrackwithMan'ssword

Shot26 era still shot/cloBeup riplion Man's leftarm stopsDevi

back

^^^ HI

Scene Scene 4 Shol Shot 28

Camera Itfflshol,towangle/close u Description Man looksup atGod

Hiseipresstonshowsthaih

God'sattack veryhard

ihangle/medium shot

Godsuddenlydisappearsalter an

Shot

;ra / medium shol

Scene Scene4

Shot Shol 31continued

Camera stitt shot I medium shol

description Godraise* ahandtokeeptt

Scene

Shot

Camera Scene4 Shot 31continued Still shol i medium shol

Descnption Goddisappearsogam

Scene 4

Shot31continued still shot I medium

Scene4 Shol 32

still shol/close up

Man fallsindeepthoughl again

Scene 4

Sot32continued St 1 shot)close up

Tttthirdeye glows

Scene Scene4

Shot Shot 33

Scene4 Shot 33continued spin, pan camera / mediurr

Scene Scene4 Shot Shot34

Camera still shotI

Description Man frowi

Scene Scene 4

Shol Shol 34continued

Camera still sholIcloseup

Description Tr\e thirdeye glows

Man looksathisnghi side

Shot 35

spincameralowangleIfull shot

Scene Scene4

Shot Shol 35continued

Camera spin cameralowangle Ifullshot

Description Man onlychopsthe afterimageo*God

Scene Scene4

Shot Shot 35ci

Description Manstandsup

Scene4

Shol35continued

Camera spin

Shol 36

siil shot I close up

Godraiseshisnghihanohigh

Scene4

Scene Scene 4 Shol Shot 37 Camera pan camera1close Description Allof a sudden.Ma

avoidGods attack

<iheheBd to

Seen, Shol Shol 3B

Camera still shot/ fullshot

Description _{Along bending}the headMai

Scene Scene4

Shol Shot 3Bcontinued

Camera still shot/lullshot

See SceneA

Shot39

She t

Carnera siili shot/ closeup

Dejcnplior Man's tool kicks toward Godshead

Scene

Shot Shol39continued

Camera still shot/close up

Descnptio Godleans backalittle

flyingfoot

?dodge the

Scene

Shot Shol 42continued

Scene A

Shot40

still shol.lowangleImediu

Man (alls down

^V

,ni:shotIextremedoseu /arpicksup thesword

Scene4

Shot42

lowangle n /meOium shot sbackward,and

Shot Shol42continued pan camera/close u

Description Man looks upand roars

Scone Scene4

Shol 42continued

Shot

Camera pan camera f med.uri shot

Oescnption Thesword stabs tow ardGod head

Scene

Shol4:

Scene Scene4

Shol Shol42com

Camera pancamera.

Scene Scene4

Shot Shol 42continued

Camera pan camera / medium shol

r.pt.o Manisdefeated,andf:

ground

Scene Scene4

Shot Shot43

still shot imedium shot

Description Godlooks downalMan

Scene

Shol Shol43continued

Camera stall shol / medium shot

Desenpt'on Gooasrlfeelssomethingandturn right

Scene Scene4

,]L Shot Sh0144

ff\ Came pan camera/ longshoi

J! Descrption Oevilstayslowshakesand glows

Scene4 Shot47 conimued

jmshol

Several bollsoflighten

hornsolDevil

Devilglows more after

ngslnke the

.

UCT

Scene4

Shol 47continued

pan camera ' mediu

Description Devi and raiseshi*rightham

Shoi 47continued

room outlowangle.'medium shol

Shot

Camera

Description Devilpunches onWeground

a sere* ol explosions extendstoward

GodIromwhereDevi)punches

Scene Scene4

Shoi Shot 47conimued

Camera room ou low angle /verylongshot

Description TheBen es of explosionapproaches

Scene Scene4

Shot Shot 47continu*

Camera low angle clos*

Oescripnon Gods onefools create another e attack

Scene4

Shoi 46

par, cameraIbird Assoo asGodsti spins andfadeso

Scene Scene4

Shot Shot46cc ntmuerj

Camera pan earner a1 bird5 eye view

Descnptior Assoon a

toDevilat

Goodiappearsopposite

ce, hepops up jus

/

l*^w

Camera trackingshot>

Scene4

Shol 49contined

still sholIextreme closeup

V

Scene Scene 4 ' Shot Shol 49conimued !Camera still shot/extreme cl

Descrlptio Devilblowsoff

Shot

Descrlptio Devilputshisfeet downontheground hardlyto stoptailingbock

v

Seen Scene4

Shoi Shot51

Camre pan camera/medium shol

DescIpbo Without drawi_igabreathDevil lu

and rushestowardGodnghiaway

Scene Scene 4

Shot Shol52

Camera pan camera

'

closeup Description DevilchargesGodwill

W*S

Scene Scene4

Shot Shot 56

Camera siill shol/medium shol

Description Godlooks downalDevil

Scene Scene4 Shot Shot56continued

Camera still shot/medium shot

Description Godasitfeels someihmf

Scene Scene 4

Shot Shol 57 Camera pancamera/ full

Scene Scene 4

Shot Shot 57conimued

Camera pancamera.fullshol

Description God Ilys toward Manas aflyingc

Scene Scene4

"V \

f_'' /

Scene Shot Camera Descnpnor Shot Camera Descriptior Scene4 Shol Camera Description Shol53

still shot/longshot

Withoutturning back,God stop Devil's

attack wilhturningroundhisonehand

Scene4

Shot54

pan camerahighangle ' closeup Godraisestheotherhandandturns.

Scene 4 Shot 54continued

Shot 58

room in1verylongshol

The POVofGod.approaching Man very

m

lastwithlotsot radiants.

; ' ' _V Scene Shot Camera

Description

s

^

J

""

Shot 56continued rom in/mediumshot

Manraiseshissword and arm armor

toprotecthimself from the_comingattack

Scene Shot

'/

/

/

ShotCamera

Scene 4 Shol 56continued

Camera trackingshot/extreme closeup The handstrikeDevil's back verybadly

witha spark.

rom in1extreme close up

Descnplion Descriplio SuddenlyafingerofGodreaches out

amongthose radiants

*

J

Scene Scene4

Shot Shot 55

;hrv

'

overshouldershot

Description Devil

im

Scene Scene4

Shol Shot56continued

Camera rom in/ extreme closeup Description Thesword andIhearmam

Scene A

Shol 56

Scene5 Shot 01

still shoi closeup

Scene Scene 5

Shol Shot 06continued

Camera still shoi medium shot

Description Godshoolsfivefire-spea

10con camera

nued

highangle longshot

1sinks <thegroundandfallsinto

Scene Scene 5

Shoi Shot11

Camera still shoi.lowangle /longshot

Descriptio Godraiseshandsastheshape ofa

Scene Scene 5 Shol Shot 11continued

Camera still shot,lowangle/longshol

Description Then dissolvesinthesky

Scene Scene 5

*.'

Shol Shol 12

|

$p..

m- Camera

Description

still shollo Man kneels

Appendix

C