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Beyond the Fence review – computer-created show is sweetly bland | Stage | The Guardian

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User Ratings. Up to four users can join the experience simultaneously. I spent two days writing the story and started storyboarding directly in Quill. I roughly painted the environment and the character and was able to block out all scenes in a couple of days. As a place holder for narration, I simply created text-to-speech sound clips that I could import into Quill to get a feel for the pacing.

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Since I was designing the experience entirely in VR using Quill, I could make critical decisions early knowing it will work in the final version of the experience. After finishing the storyboard, there were no open questions, and I could move forward with character design and asset creation.

CJ Johnson in 'Beyond The Fence', Arts Theatre, London.

The idea was to treat the environment like a theater stage where I would place and populate props and set elements for each shot to support the story. I painted the character and environment in diffuse lighting so I could use the coloriser tool to add the lighting on top of the local colors to create different moods and lighting scenarios for each scene. Unit-7 was painted in a way that joints and limbs were easy to select and movable for posing and animation. Now I had the assets ready for animation. I used the timing of the storyboard as a guide and started animating scene by scene, always making sure that all four camera angles would have an appealing composition.

Every animated element you see was animated frame by frame, which means shadows and also lighting changes had to be animated the same way. Halfway through production I had the opportunity to go to a recording studio to get professional voiceover narration.

Beyond The Fence: how computers spawned a musical

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