Posts Tagged ‘krawlr’

 

 

Summary

The scarcity of resources has driven bands of humans and robots to subsist by scrounging, and making deals. The self-replicating VonNeuman machines, robots who once performed tasks for man now guide themselves, gathering information, and controlling the world’s nearly exhausted resources. John Henry, a field mechanic/engineer, working¬†aboard the KRAWLR in the wasteland of the Uncanny Valley, discovers a singularity within a unique fembot. He believes this Gynoid with it’s evolving AI to be the key to changing the world.
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Drab Future is a sci-fi web-series. It is centered around an alternate timeline leading to dystopian society, with few alienated people left.

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If you haven’t already added Drab Future on Facebook, you should and spread the word on twitter and Facebook. Please re-tweet and share. We need to increase awareness. The more people we can tell about this the greater it will be!

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Summary

The scarcity of resources has driven bands of humans and robots to subsist by scrounging, and making deals. The self-replicating VonNeuman machines, robots who once performed tasks for man now guide themselves, gathering information, and controlling the world’s nearly exhausted resources. John Henry, a field mechanic/engineer, working¬†aboard the KRAWLR in the wasteland of the Uncanny Valley, discovers a singularity within a unique fembot. He believes this Gynoid with it’s evolving AI to be the key to changing the world.
poster1_gynoid
Drab Future is a sci-fi web-series. It is centered around an alternate timeline leading to dystopian society, with few alienated people left. We are working on shooting a 10min pilot to begin the production and will continue to create episodes as quickly as we can. Once the world is established and the series continues I’d love to involve more artists to add to the world; to further populate it with their characters and add to the vision.

Bio

My name is Brad Isdrab, I’ve been sculpting and exhibiting my work in galleries since 2001 in various galleries from San Francisco to San Diego, New York and Pennsylvania. I create hand-cast and painted editions of my sculptures as well as produce short films and books.

I studied sculpture at the Academy of Art University and later turned my love of form into articulated puppets which could be brought to life through stop motion animation. My graduate work, Boris and Bianca, focused on interactivity and storytelling. Since 2006 he has been working full-time as a designer, producing motion graphics animation, and working in the visual effects and feature film industry for such companies as The Orphanage, Image Movers Digital, and Industrial Lights and Magic.

I’ve been creating the parts of this for years now, and only now have enough put together to be able to share it all with you.

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Why

This is going to happen. I want to make this world. This is simply what I must do. However, with your help I can create a lot more, and you’ll be enabling me to do it better. I’ve been working in a vacuum which is slow and difficult and its time to share it.

With your support I’ll be able to increase the scope.¬† The models and props I’ve built have been what I can manage in my studio. The studio itself I’ve built into an interior set. The purpose of this campaign is to take this out of the workshop and bring it into the world. I’d love to be able to create larger models, bigger mechs and robots, more intricate models.

For the full pilot I’m going to need access to a¬†need real locations, the wasteland, shipping yard, places where my actors can safely run around with prop airsoft guns without being arrested, which means I’m going to need permits and potentially insurance.

I’m planning to begin principal photography this July, which gives me only three months to finish all the models, costumes and secure the locations.

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How

I’ve been calling upon favors from friends from the industry, and have put together a core team of dedicated people for this project. It is a labor of love for us all. No one is getting paid, we just love to see this kind of film and believe in old-school practical effects.

I’ve been very fortunate for the people who have volunteered their time and skills for this project. I’m keeping the crew to a bare minimum and not getting too bogged down with job titles, we each have particular tool sets but also share the willingness to do what needs to be done on set to get the shot.

We are shooting this on a Red Epic, and Canon 60D, to record all the detail texture of this world. And I’m going to use as much practical effects work as possible, including; scale models, radio controlled animatronics, compressed air cannons, stop motion and more. All these disparate parts will be combined to populate the world.

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The way I work

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The script is written and storyboarded, and planned out. A big part of this project is the spirit of experimentation and always looking for better ways to do a given challenge. I want to involve you by working transparently. I’ll be posting work in progress and tests both successful and less than. One of the robot characters, ‘the Witness‘, is currently equipped with a webcam from which I’ve been streaming live while in the workshop. so you can share in the creation process.

Incentives

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Since I’m an artist and sculptor, I have been making use of my skills to produce unique incentives. I’m putting together a book of the artwork from this world. I’m casting resin figures,¬†hand-making dolls from the project, beginning with the basic doll of the Gynoid, which are my gift to donors, also everyone who purchases one of the dolls will have the opportunity if they choose, to customize it to be a part of a group art show.

I’m going to arrange a special screening for the cast crew and donors of the complete pilot in San Francisco. I’m also making a lot of other rewards available to donors; pez dispensers, magnets, pins, nerf guns,T-shirts, magnets…

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What you can do

At this stage I really need your help. I’ll be kicking this campaign off on Indiegogo soon, and in the mean time I need all of the feedback I can get. If you haven’t already added Drab Future on Facebook, you should and spread the word on twitter and facebook. Please re-tweet and share. We need to increase awareness. The more people we can tell about this the greater it will be!

Much of Drab future will take place on board the KRAWLR, so I knew I’d need a good interior set, so early on I started transforming my studio into it.

I looked a lot at the genre and some of the amazing production design work done and gathered reference/inspiration, as well as submarines, space ships, inspiration “set” blog

I even went on a field trip to see one of the last WW2 battleships, the USS Iowa

I knew a few things I needed a few scenes; workshop, OP room, hallway, control room… and I had to find a way to work in a limited space, part by part, and using any thing I had on hand.

The first step was to start moving unrelated items away and create the walls I had, I knew I needed textured panels and a basecoat, so after a trip to the hardware store I added peg board panels and started covering everything with a dark grey. I figured this would work well for shining a light through to create a sense of depth.

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Slowly it spread to the whole room…

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As the KRAWLR is a scrap collector, It makes sense that the whole thing would contain bins of parts, so I gathered a rack of milk crates and enough robot parts to fill them, along with many of my sculpting supplies and materials

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The peg board also gives me a good way of storing props ūüôā

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I found a bunch of sheets of plastic grid from a remodeling office building, which provided a good texture for the ceiling, after I hit it with a bit of paint for weathering.

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And this hanging lamp was donated by my friend Webster Colcord who’s wife worked for a lighting company

I extended some supports to add ceiling panels across the room, and hung sump tubing.

I mounted a partly disassembled fan into some packing foam on the ceiling for a vent. The best part it, it still works!

KRAWLR

Posted: October 6, 2011 in model
Tags: , , , , , , ,

an acronym for; Kludge Robotic Autonomous Wrecker and Locational Recycler

KRAWLR test composit

This is John Henry’s home; a mobile workshop, a giant, slow moving, largely automated, tracked vehicle, something like a huge garbage truck.

I wanted to create something realistic and grounded enough to seem like it could exist; to seem functional, but also of a scale to show how large this world is.
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John goes through the waste gathering scrap, so its main role is as a recycler, and not necessarily military applications. I really like the Crawler they use at NASA to move the Shuttle, for example.
Images tagged as inspiration on Tumblr.

These were some of the early sketches, playing around with various ways of loading it and sorting it’s scrap, from arms like a garbage truck to piles of junk chained and heaped to it’s back.

Obviously I wouldn’t be able to create something of this scale this in my back yard, or be able to rent one, so I’ve opted to go for the practical approach and create a model. I’ve been fortunate enough to work alongside Fon Davis and pick his brain for ideas and tips about what will work and what won’t, as well as the opportunity to work out of Fonco.

The first concern he told me would be scale, too small a model would never look realistic if for no other reason than the size of a camera’s lens wouldn’t allow me to get low/close enough. 1/24th scale was the starting point he recommended.

I’m more interested in ‘kit-bashing’ this model together rather than making it completely from scratch; it’ll allow for a faster build as well as helping it fit into the aesthetic of this world. Also the steps of construction will be more easily repeatable at different scales by using manufactured scale parts.

The first major decision was on the chassis, an M2a3 Bradley tank. This 1/6 scale model is huge, about 2 feet tall and 3 wide, its like a coffee table! It was produced for by 21st century toys for 12″ GiJoes and I used it in my “drabbercm” stop motion film/installation.

The 1/6 Bradley tank will become the basis for a 1/24th scale KRAWLR, the ‘Biggature’ as I’ve been calling it.

I’m creating a smaller KRAWLR concept model at 1/140th scale, in train speak this is N-scale, from a smaller 1/35 scale base Bradley model.

Started by carving foam for the main shape of the hull and placing it in the Bradley chassis;

I vacuum formed plastic over the foam to create a hollow shell and began gathering parts from model trains and rail roads;

I made a mold and cast up some resin copies of vents from a train engine to make a big engine for the KRAWLR, also made a second vacuum form pull from the hull shape from thicker plastic to make an outer shell;

Added more details and structural parts.

Used tiny rare earth magnets and dollhouse hinges for the outer shell;
 

 

One of the trickiest parts was adding the wire rails for the side shells to slide along;

 

I added the base and pistons from a watch for the main tower uplink and I used etched brass fire escape from a train set to create a platform beside the Com array.
 

 
I’ve been planning out certain comp-shots and environments around the model where I could stage a scene and have elements to interact with, the front cabin, the loading bay in the rear, etc.
 

 
Added more engine details as well as started the primer/basecoat;
 

 

The KRAWLR carries the LOADR on it’s back;

As I go, I’m shooting tests from this model, to see how it works on screen, and where details can be added or changed. Its much easier to make these changes here than it will be on the ‘Biggature’.

KRAWLR (work in progress) – set on Flickr.