Week 10

Week 10

Commercial

Thank you!

I would like to thank each of our Mill mentors that were with us throughout this 10-week process and devoted time each week to meet with us and provide valuable feedback:

Thank you,

Emily Meger, Natasha Saenko, David Barosin, Heather Keister, Mazyar Sharfian, Vi Nguyen, Varshini Kumar, Joonho Bang, Jake Martin, Stephen Eisenmann, and Stephen Withers.

Your invaluable feedback has helped grow my eye for lighting and compositing as well as motivated me to put forward my best work possible. I am so thankful to have had the time to connect with you throughout this mentorship and seek guidance throughout this commercial!

I would also like to thank Professor Bridget Gaynor and Professor Deborah Fowler, as well as Chair Gray Marshall and the School of Animation and Motion.

Last but certainly not least, I would like to thank my hard-working, devoted team members:

Sam Gualtieri, Julee Lee, Wei-Lin Lai, and Sara Frank

Each of you brought such amazing work and energy throughout this mentorship, and I couldn't be more thankful to have gotten to know all of you and share this project with one another. The hours spent every week troubleshooting, rendering, and polishing our Vespa project together have been so beneficial in the long run. I appreciate the efforts and communication that went in every week, as well as always offering to lend a hand where it was needed. I would be so happy to work together in the future and collaborate on more projects together!

If I had 2 more weeks...

Reflecting on the last 10 weeks and what Team Retro was able to create, I would consider how else we could push this commercial to have more continuity between the two environments. Personally, I would like to return to the lighting in shot 3b and make it blend better into the lighting on shot 4. When we first pitched this project, we planned shot 3 to transition between environments and time periods with the help of 2 extra fx, but I now see that was unrealistic as the vespa transition was very ambitious in itself and would require several iterations.

I would have loved to include an extra shot that shows the screen of the modern Vespa that our MOME artist created, or one of our previously planned shots of a key twisting to turn on the Vespa.