All images ©Copyright Aardman Animations/ Netflix 2024

Returning to the world of Wallace & Gromit, I worked as Concept Designer on Aardman/ Netflix feature film, Wallace & Gromit: Vengeance Most Fowl, developing new locations and environments across the production.

Using Gravity Sketch, I developed a virtual studio in which locations could be blocked out and explored in 3D long before physical sets were constructed. Reference, storyboards and concept work could be brought together in a shared space, allowing the director and creative teams to explore locations, find camera positions and make visual decisions at an early stage.

Working in VR allowed us to visualise the film from the camera's point of view, test ideas and establish the spatial relationships between characters, sets and camera before anything was built.

Using the virtual work, I developed 2D concepts and lighting keys for key locations and sequences. These designs helped establish the visual language of the locations, informing the subsequent physical sets and cinematography.

WALLACE & GROMIT:

VENGEANCE MOST FOWL

WALLACE & GROMIT: VENGEANCE MOST FOWL

Gromit_Garden_Concept_WIP_001.jpg
Gromit_GeoGarden_Concept_WIP_002.jpg
Gromit_GeoGarden_Sketch_WIP_001.jpg
Gromit_Garden.jpg
GeoGarden.jpg
PrisonCell.jpg
07_Basement_Col_Concept_WIP_003.jpg
Norbots_Deployed.jpg
PoliceStationINT.jpg
PoliceStationINT_2.jpg
Penguin_Enclosure.jpg
FoggyStreets.jpg
SubINT.jpg
Scrapyard.jpg
Museum.jpg
StormDrains.jpg
Aqueduct.jpg
SET GARDEN.jpg

Clips to demonstrate how VR was used to create the basis of new environments. The benefit being I could work at a true 1:1 scale in this space, which is perfect for visualising how a stop-motion set will ‘feel’ later in the studio.

VR DESIGN

Whilst working on lighting keys, I also created a small colour script for some specific night scenes and the film’s finale. This helped to inform the teams about the ‘film noir’ tones to create tension and the time of day changing over the final sequences.

COLOUR SCRIPT

COLOUR SCRIPT

Whilst working on lighting keys, I also created a small colour script for some specific night scenes and the film’s finale. This helped to inform the teams about the ‘film noir’ tones to create tension and the time of day changing over the final sequences.

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