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But, at the same time, you only get to see the cabin for a second in the trailer and register it as creepy, so it took some trial and error to get it right.This document explains how we process any personal details you give us when you subscribe to our newsletter. “We didn’t want the cabin to look like every other mysterious cabin you’ve ever seen. “The cabin needed to look old, and not like a cozy place but someplace where conspiracy theories come from,” Worley explains. “We talked a lot about rocks and the shape of rocks.” They also had long discussions about what the mysterious cabin in the woods should look like. “It takes so much to make a trailer, and there was so much to talk about all the time, like rocks,” says Dixon. Though they bought some items online to save time and budget, the team created most everything seen in the trailer from scratch, including a vast amount of concept art, a mailroom, a mysterious cabin, many different props and a whole lot of trees, rocks and mountains.
Following an arc from “mundane to insane,” as they called it, they wanted a good mix of shot types from wide to close-ups. With Unity serving as the project’s hub, Worley and Dixon narrowed their shot list, making sure they hit major plot points and emotional beats. “This is a show about murder after all, so it was a big challenge to tow that line.” “We really wanted to push some stylized proportions into our characters while staying away from anything that looked too childish,” Dixon says. Next, characters were rigged in Maya and brought into Unity.
Character design was led by IV Studio’s Art Director Michael Cribbs, who took the concepts the team came up with and handed them to Limkuk, who sculpted them in ZBrush. ZBrush was used for sculpting props and characters, including the alien. “All of those normal programs import into Unity fairly seamlessly, so we were able to go after the artists we wanted to work with even though they hadn't worked in this way before.” “A lot of the team was able to work in traditional tools like ZBrush, Maya, Photoshop, and C4D while our real-time crew was pretty small,” Dixon explains. Other artists used C4D for making trees, hard-surface modeling, layout, and rigging and animation of things like snowmobiles. Though they initially worried about finding enough artists to work in Unity, they ended up finding it easy to assemble a small team to work in real time, including Dixon. “For some it was a place of rest and escape from a past life for others it was a lonely and alienating experience.”
“The theme of “isolation versus solitude” began to emerge as we were writing from the perspective of characters working in one of the most remote (and lonely) jobs in the world,” Worley explains.
So they wrote a pilot and started dreaming up shot ideas for a series that explores the pasts of the disappeared mail carriers, probing the difference between isolation and solitude. But after more consideration, a TV mini-series seemed like a better way to go. “IV Studio made a game called “ Bouncy Smash” a few years ago, and I realized I loved making video games,” Dixon says, explaining how after they ditched the game idea, they considered making a sci-fi short. “The Carrier” got its start when Dixon, founder of IV studio and director of commercials for Nike, Amazon, Bad Robot and Reddit, asked Worley if he wanted to help make a narrative game to pitch.
Worley and Dixon are longtime friends who have collaborated on many creative projects over the years.