NOTE: This sneak peek was posted with permission from the producer.
After 4 intense months, Polycarp visual effects are now finished. I was privileged to be counted alongside many talented artists with such films in their repertoire as Iron Man 3, Jack the Giant Slayer, the Chronicles of Narnia, the Hobbit, Sherlock Holmes: Game of Shadows, The Avengers, Man of Steel, Ace Wonder, Beyond the Mask, Return to the Hiding Place and more.
Wow! Some of the hardest and most enjoyable shots I have ever done. Of the 137 vfx shots, I had a hand in over 34 shots and 6321 frames, ranging from simple set extension and boom removal to intense compositing and particle simulation. I even had fun replacing a character's shoulder to maintain wardrobe continuity. (Don't ask which shot 'cause I'm not allowed to tell.) It certainly was a record breaking time... like 46 hours running on 4 hours of sleep the last two days before the deadline.
I received this kind endorsement from my awesome visual effects supervisor:
"Shad was a pleasure to work with. Very friendly, flexible, and adaptable. During the crazy parts of Polycarp's VFX process, he was able to take on several developing shots at once, as shot elements traded hands and versions. Also, he was able to quickly learn Polycarp's rigid technical workflow and maintain consistency throughout the project. At several points he was able to discover creative solutions to compositing problems we had. A+++++ would work with again!"
- David Heustis, Visual Effects Supervisor for Ace Wonder and Polycarp
Enough of the shameful plug... it truly has been extremely exciting to see how much depth and scale all the vfx shots added to this movie.
Composer, Ben Botkin, announced a few weeks ago the completion of the music. As I write, the film is undergoing its final color grade and sound mix. It's amazing to think that in only a few more days... after nearly 3 years of work... the film will be finally finished. But don't get your hopes up. The release is still a ways away.
One day I hope to post photos, videos, and shot breakdowns from the process, but for now this post will have to suffice.
I want to give a quick shout out to some of the awesome guys who have been key to this final stage in the process. 1) Director, Joe Henline. You'd never guess this is his first feature film. 2) Producer, Scott Eash. Hiring the right people for the right job sounds easy, but if it is not done well, the film could fall apart. Scott is tirelessly working to make the film as good as it can possibly be. 3) Visual effects supervisor, David Heustis. David's enthusiasm puts the "super" in "supervisor." His technical knowledge seems endless and he always had a word of encouragement and solutions when the going got tough. 4), composer, Ben Botkin. I've been a huge fan of Ben's music for years and I absolutely love what he created with the soundtrack. (Rumor has it that a sample will be released soon). 5) Editor, John-Clay Burnett. 6) Sound editor Nathan Ashton.
And the list could go on. In fact you can view them at IMDb.com.
Need a quote for VFX or motion graphics? Send me an email.
It's finally here! The first extensive look at the Behind the Scenes of Polycarp: Destroyer of Gods (Also, check out the new website designed by ShadEash.com).
This BTS video has been in the works, off and on, since September of 2013. In February, I went back to Ohio to film several more interviews including one with Nathan Ham (son of Answers in Genesis founder, Ken Ham).
Right now, we are in the middle of a Kickstarter campaign. There are some great rewards and the deadline is fast approaching. (Remember, Kickstarter is all or nothing.) Check it out and spread the word: kck.st/1rKGohh
Directed and Produced by: Shad Eash
Camera: Shad Eash
Additional Camera: Caleb Hurt, Josiah Einwechter, Joe Henline, David Cook, Nathanial Jacobson
Editing and Post Production: Shad Eash
Filmed on the Canon 6D, Canon 7D, Canon 5D Mark II, and GoPro
Here is a sneak peak at a promotional video I was hired to create for a mid-west homeschool conference. A lot of fun motion graphics, and experimentation with 3D text and volumetric light rays in after effects. It's been a unique challenge, but an absolute joy. The best part? I get to work with John-Clay Burnett of Reelcast Productions.
Check back soon for the final video. Need motion graphics, editing, or color work done for your project? Send me an email.