@ Dayle
Heres the render of the draft title comp, i lucky save a render to account at uni which worked, as one i took home was corupt and couldnt open the After Effects project as well as you due to different version.

I had a bit of experimentation in photoshop to try and produce some logo ideas for Studio Crawler.

I quite like the fifth design because it goes back to a previous idea of the electricity and I think the colour scheme works better.

@Sean and Dayle, let me know what you think about the designs so far and if you like the font choice because I have only experimented with one example that I found and I have five other fonts that I thought might work but figured this particular one might work well.

I have put together an influence map using the more updated inspirations of the one eye theme and the female wolf spider which was the original inspiration for the mother spider.

I have taken some feedback from the group and worked out the direction of where the light of the spider's eye is going now.

I find Environment concepts harder to produce but I decided to try and the visualise the corridor at the pinnacle moment when the Spider's gaze causes a strong red light to occur from the ceiling vent. I decided to paint the space black and white so that the red light would be strong and show how it would cause an impact into the dark corridor. This has caused this concept to have a film noir feel, which was not my intention but I think it works to create an abandoned ghostly feel to represent that these characters are going back to an enviroment to how it was left in the past.

Storyboard Based On Revised Script

Heres my storyboard based on our Revised Script. I have tried to visualize it as best as possible, putting the scenes and camera angles as i see them when reading through.
These can simply be the 1st drafts for the storyboard that we can discuss and work upon or with. It will give you a perspective into my view of our trailer and could be an influence to yourself if you like certain parts.

I will try using most of these scene that i've drawn up into my animatic. along with anything else i can develop on the storyboard area.

I have had another attempt to visualise the design of the robot spiders, I tried to go more retro with the concept of these spiders inhabiting a 1950's world that the characters are going back into. I basically used the turnabout sheets as the main inspiration for the shapes and structure but I discarded the pod feet as Dayle advised me that  they looked tacky. I feel this concept has come along way to my first attempts and that I starting to express the robotic as well as the spider form. I think I might make some tweaks to the design of the mother because I don't feel as happy with it as the design of the baby. I have included progression stages below.







@ Dayle and Sean, If there are any further thoughts or problems then please comment, let me know what you think as well

This is my animatic for the trailer, I have drawn out the stills using black and white line and tried to figure out the cuts and transitions between each shot as well as camera angles. I have included Dayle's soundtrack he created because it sets the tone nicely but eventually we are thinking about adding voice overs and maybe some extra sounds where they are needed. For now I have played around with the soundtrack to create something that fits the visuals and length of the animatic.

The official animatic came to 1 minute 45 seconds so is a bit too long as it currently stands but this is just a starting point to work out which scenes are working, need to edited or taken out.




@Sean and Dayle, take a look and comment about how you want to move forward with this.

Image 1

Image 2

I found the feedback very useful and I tried to address some of the problems in the previous concepts and ideas. I used Dayle's two images (Image 1 and 2 above) as a huge inspiration and starting points as an idea of the single eye, mechanic legs that  support it.

Baby

Mother/Alpha

I tried to have some similarities of parent to child to address Phil's feedback of the resemblance and tried to go more retro and mechanical with the design to give a 1950's Art Deco feel. I feel I have finally taken the organic away by adding piston legs, pod feet, one eye. Even though I have reduced the designs down there is something of a spider in their posture so will now develop these as concepts.

I have looked to some of the successes of my earlier ideas and decided to focus on these as a better inspiration. Also I took on board what Dayle and Sean suggested to improve such as giving the spider one eye, pod feet and the smaller spiders making up the back body on the alpha spider. I am not sure on the head shape on the alpha spider but feel as if this concept has gotten closer to what we wan't them to look like. I have included the progression stages below.

@Phil and Alan: When you a free moment, please read through our script and let us know if it is working. We really want to this get nailed by next week. Thanks in advance.

Revised Cast (W/O character descriptions):
Onscreen cast of four members. The news crew consisting of two onscreen and one off-screen (LINDA, RICK, and JOE) and VINCENT CRAIG. JR.
           


Key:
Black text = We are happy with this development

Act 1 (Introduction to the aftermath of lab)
FADE IN:

INT. UNDERGROUND LAB
(CINEMATIC P.O.V.)
The radio is playing, the voice is laid-back style. Camera pans walls and laboratory equipment. Sleek, super hi—tech. Byzantine. There are a series of blueprints on the walls and tables. Signals on blueprints to suggest something has happened and camera examines the blueprints in a sequential order. Revealed is the discovery of a new experiment and the dangers of its evolution. “It” is now dangerous, evolved, independent, and intelligent. One blueprint really stands out; connecting up the dots of the story.

There is a lamp flashing on and off on a desk within a small room, the rays of light touching a “classified” document. Camera focuses on the document and lamp in the foreground and one of the corridors in the distance extending into infinite darkness. Suddenly, a noise works its way towards the camera. In a heartbeat, something attacks the lamp. ELECTRONIC IMPACT RINGS OUT. Lights OFF. Blackness. Electric legs and transitional SFX.

TEXT ON SCREEN
Studio ident
Fade out:

Interlude

Act 2 (one year later (Andrew has been hiding down here making illegal experimentation/biological hazard))
Silent, screechy strings start to play with a beat.

FADE IN:


(Dolly-in) Shadows move towards the door. Sound of human voices. Someone begins to open the sealed doors.
(Cutaway) On the wall, there is a notice/dynamic symbol telling the characters where they are in the building. A sign is on the side.
(Close Up) Vincent’s hand on the lever beside electricity dashboard, with some effort, he raises the lever to turn it on.
(Wide shot of cast slowly trailing in one after another (except RICK who is O.S.) VINCENT CRAIG. JR. operates the hydraulics for the platform leading down to the underground; the only unblocked route to the underground facility.

VINCENT
Pings in a code.

CUT TO:

2. INT. UNDERGROUND LAB

(Establishing Shots) Three mains shots of laboratory: The main hub, the small room to the side with the blueprints and closed double doors.
The characters arrive in the central hub.

(Noddy shot)
           JOE(O.S.)
“I’m going to setup here.”

            LINDA                     RICK ((O.S.)
Looks towards RICK-             “Yeah sure. Let’s do this quick and
                                    easy.”
Looks back.
* nods *
“All right!”

CUT TO:

(P.O.V.) VINCENT picks up blueprint/duplicate of blueprint (much larger than first at beginning of teaser trailer)

(Two shot)
            VINCENT
“Evidence is everywhere. Such advanced science, unexposed to the world.”

            LINDA
      “Gives me the jeepers just looking at that thing!”
      * shivers *

CUT TO:

(Mid shot)
RICK and JOE move down the hall, opening doors left and right as other two stand at the center of it all.

“Just look at it... (Pause)”
Turns around to JOE
      RICK
“It’s dead empty!”

(Close-up) RICK listens carefully. It’s barely audible, but it’s there. A low mechanical sound. It sounds like legs. He looks up at the grille that covers an air duct where the sound is coming from.

      (To JOE)
      “Do you hear that?”

            JOE CONNOR
* Nods, resulting in slight camera tilt *

CUT TO:
(Wide shot of cast)

Sudden power failure.


            VINCENT (O.S.)        
“Nothing to be afraid of everyone. There’s a bug in the power. (PAUSE)”
He’s not kidding...
 “Any minute now”

       LINDA                     RICK

Lights turn back on.

RICK notes that one of the unopened doors is now open. Along this new corridor wires are torn out of the walls, and in the distance it is very dark. A few emergency lights dotting the corridor.

            VINCENT
      (Understands something is out of the norm)     
      “Feels like experimental misdirection.”
           
LINDA

Looks around at to see if anybody else felt a ruffling against their legs.
Her worried eyes lock onto RICK. He returns an expression of facial concern.

A dead silent pause falls on everyone. It’s not rocket science. Sensing that something is wrong, Suddenly things become more urgent.

Lights jitter on and off.

Darkness.

Red light appears in the grille, shining a projected dull beam (from the spiders’ eye).

The cast panic and on instinct scatter into groups of two. LYNDA with VINCENT, and RICK with JOE.

Act 3 Finale wrap-up
NOTE: Events from here onwards of characters routed during story/teaser trailer.

Darkly expectant music starts to play.

TEXT ON SCREEN/ V.O.

“Inside a strange forbidden plantation, alive, deep in the underground hidden from man...(Pause)”

CUT TO:

(Security Cam P.O.V.) Security cam monitors empty corridor. Picks up noise several times, and then abruptly a sudden shadow appears in corner of its peripheral.

CUT TO:

Frantically punches the buttons on the door.
Again. AGAIN.

CUT TO:
(Medium Close Up)

CUT TO:

The emergency lights have activated. Their surreal red glow makes everything seem ten times worse.

(Shaky-cam)
      “What do you think they are?”

TEXT ON SCREEN/ V.O.

CUT TO:

LINDA

(Over shoulder shot of LINDA and dark intersection of corridors)
Trying not to alert the mechanical things that are lingering in the shadows nearby, LINDA covers her mouth trying not to squeal. She pushes her back to the wall, standing there and panicking quietly. Takes a cheeky peak round the corner. Nice and slow-

…O’ shit.

       LINDA
       Wheezes/oral shape
       “Oh… Shit!”

LINDA (CONT’D)

Retreats head. Clutches onto flashlight. Realises the flashlight is not covered and in a frenzied movement tries to block light with her hand. Attempts to find the ON/OFF button-- Where is it?!- Oh my God!!! Can’t find it… Finds it.  *CLIIICK* echoes sound down the corridor; the red eyes find their way to the direction of the camera…

…Nice one Linda.

CUT TO:

RICK
During flight, RUNS and STUMBLES into a metal, gooey web between a double doorway.

            * GASP *

TEXT ON SCREEN/ V.O.
            * SHOUTS *
      “Ahhhhhhhhhhhh!”

CUT TO:

LINDA

Lashes out, turns to long corridor, almost hyperventilating while Fleeing.

            * Squeals *

Runs through a long corridor. Suddenly, collapses and glasses come off, releasing grip of flashlight and it travels down the corridor, the beam of the flashlight begins to pulsate —

(Vision blur)

ROBOT SPIDERS

Red eyes become blurred, syncing with glasses falling off.

LINDA (CONT’D)

Eyes become more focussed without glasses.

Music reaches a crescendo! Slightly menacing undertone running mostly inconspicuously in the background. Low-changing melodies with swinging sounds that are often perceived subconsciously. They shall run the subwoofer for a long time simply with a sonorous bass sound. The sound contributes enormously to the atmosphere of the film. The subwoofer is important for a powerful punch.

– Then, out of nowhere, sound of electronic legs hammer away at the irritating light. Then, there is total and utter pitch black.

TEXT ON SCREEN/ V.O.
            * Shudders with disgust, Goosebumps, elongated scream *

CUT TO:

LINDA

Trembling uncontrollably with impaired vision, she looks around, and her eyes are filled with revelation.

CUT TO:
TEXT ON SCREEN/ (V.O.?)
           Professor Andrew O’Sullivan
The wolfish smile has a sadistic edge to it.

      “You don’t even want to know about the mother.”

CUT TO:

INT. CORRIDOR
Optional ending 1

(Cinematic P.O.V.) Handheld camera is on the floor, alone and damaged. This is followed by an instant transition to handheld camera on the floor at a distorted angle. Through the screen we see the approach of a lone robot spider. Camera goes static, and then cuts out.

Optional ending 2

(Security Cam P.O.V.) Positioned at a static angle, the viewer can see that the handheld camera is now on the floor, alone and damaged (centralised in middle of the corridor). Through the security camera we see the approach of shadows and red lights. Camera begins to flicker with interference, becomes much distorted with sound and imagery, and then, we can perceive the shadows getting closer to the handheld camera. Static stops and camera readjusts. Handheld camera is now missing from view.

Cuts to black.

TEXT ON SCREEN/(V.O.?)
      “In... Attack of the Robot Spiders”

End credits.

End

Notes:
Nobody is really sure about the nature of the Spider, so they are afraid of it. However, spider evolves itself for dominance, learning to reproduce by collecting metallic compounds and using electr1icity to replicate more nanites into the image of itself as a spider. The spiders are not killing the people; they are after the batteries in the cameras and their remaining technological devices. What is not revealed is whether the cast die but the viewer believes they will suffer an inevitable fate as a result of entering the spiders “hive”.

This a developed concept from the speed painting I produced earlier, this could be for the mother or the young spiders but not sure if this is the final approach because it feels quite organic metal than robot but slightly developed from the other designs I had drawn previously, I will probably try another attempt after consulting with my group and decided how best to move this process forward. Stages of progression below.

@Sean and Dayle, If you could please let me know if there is anything you like or is working with this design so that I can take that forward and hopefully improve a better developed concept.

This is a basic speed painting for robot spiders, their shape, structure and size. I will now produce a more resolved version with more detail refinement, stages of build up are below.