AFT3RLIFE
Directed by Madeleine Knight
Cinematographer Matthew Cowan
Virtual Production Supervisor Jacob Capener
Unreal Tech Director Ploy Bunluesilp
Unreal Tech Director/Artist Feras Nour
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Screenplay by Madeleine Knight & Matthew Cowan
Production Design by Feras Nour & Bonnie Ncube
Unreal Tech Director Ploy Bunluesilp
Unreal Tech Director/Artist Feras Nour
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Screenplay by Madeleine Knight & Matthew Cowan
Production Design by Feras Nour & Bonnie Ncube
Filmed in NFTS Beaconsfield on their Virtual Production LED Volume using Unreal Engine 5.
A short film set in the not too distant future where you can upload yourself to achieve immortality, leaving your biological self (and others) behind. We wanted to create a solid foundation for the LED wall to work off of to really sell the idea that this was in a real location.
The set itself is all built in UE5 and modeled in Cinema 4D. As this was all shot on the LED Volume we wanted a real-time transition into the digital world, which took some testing and planning for optimisation. With a bit of VFX post magic on the phone and transition it really came to life (or death!).
As we were a small crew of 5 for the project I feel like, as the film speaks for itself, I should shout how how awesome it was working with my team:
Probably one of the best scheduled and produced projects I’ve ever worked on thanks to Madeleine, who kept us all on track throughout.
Shots and lighting were spot on and it was a joy to work with Matt as the cinematographer; he also laid out the edit ready for tweaks in rapid time.
My ‘Brain Bar 5000’ crew of Ploy and Feras were amazing. Ploy live triggered the transition and kept the LED wall in check, along with tweaking an ever evolving Unreal project in real time.
The set and real world never looked so good thanks to Feras. He even sourced one of the most realistic looking babies for the photo in the first shot of the film.
An absolute joy of a project to be part of and I found immense fun in every aspect of it.
The set itself is all built in UE5 and modeled in Cinema 4D. As this was all shot on the LED Volume we wanted a real-time transition into the digital world, which took some testing and planning for optimisation. With a bit of VFX post magic on the phone and transition it really came to life (or death!).
As we were a small crew of 5 for the project I feel like, as the film speaks for itself, I should shout how how awesome it was working with my team:
Probably one of the best scheduled and produced projects I’ve ever worked on thanks to Madeleine, who kept us all on track throughout.
Shots and lighting were spot on and it was a joy to work with Matt as the cinematographer; he also laid out the edit ready for tweaks in rapid time.
My ‘Brain Bar 5000’ crew of Ploy and Feras were amazing. Ploy live triggered the transition and kept the LED wall in check, along with tweaking an ever evolving Unreal project in real time.
The set and real world never looked so good thanks to Feras. He even sourced one of the most realistic looking babies for the photo in the first shot of the film.
An absolute joy of a project to be part of and I found immense fun in every aspect of it.
