The sequences and images in the reel represent a compilation of work created for the Ghost in the Shell live action film by Concept Artist/Designer Ash Thorp (LOST BOY) - which includes everything from animation tests to final assets implemented in the film. For more information and a wealth of behind the scenes designs and images can be viewed on ashthorp.com/ghost-in-the-shell. For all your (possible) disdain for the film, you cannot deny it looked GREAT!
I released a lot of my concept work for Ghost in the Shell on my site this week. I will be breaking some of the key imagery down here through out the ongoing months. With this city concept design I wanted to really capture the madness of the city but also retain some of the building texture and silhouette so things would still read. One of the comments I continue to see in critique of these larger than life hologram/sologram concepts is that they would be to large to even make out what they are if you where on the street and I totally agree but the key here that they are missing is that this concept is based on your own personal perspective. It's real time Alternate reality formed with virtual reality blurring the lines between what is real. So if you are on the street, your perspective of what you see would shift to you and your personal point of view. The city would basically be tailor made to you and your vantage point making it incredibly enveloping. A big inspiration for the colors on this one came from a film called Enter the Void. This piece is now a few years old dating back to 2015 but I still remember building it clearly and the enjoyment of taking a rough sketch of ideas in my book to final completion. To view more please visit - ashthorp.com
ABOUT SOLOGRAMS: "Early on in the film’s development, I met with Rupert to discuss some of the creative direction. He expressed his desire to paint the city with neon lights in a new form that he coined as “Solograms”, which are solid holograms. It is something in the realm of a particle system of light that can be moved and augmented in Z space. I loved the idea and instantly got to work building out concepts and ideas. Below you will see a mix of various style frames, concepts, and final production assets that made it into the film. These concepts then went into post production where Chris Bjerre and I animated and created an asset library for Rupert to paint his city with."