LAUAN503 - Development and Production (weekly blogs 4)

Production - Use the skills that have been developed through workshops and study tasks to develop and produce the your animation through your chosen medium.
My scenes in the final animation.

Characters development, Final character sheets

Adding redder eyes for my rat character I have created this character sheet and refined the character design, making the belly longer and going with the longer legs and straight whiskers, The best-known rat as the black rat. Generally designed as a 'Old World' rats or true rats as inspiration, trying to keep the rat as feral as possible, taking inspiration and reference from these Black Rats and taking the characteristics for a more accurate character design.

(Dan's final Skelly skeleton design image)

(Dan's final Skelly skeleton design image)

As usual, in the development stage, characters are changed form influences and design techniques that are easier to produce in the final animation or are required by the group leader.

Skelly the skeleton turned into our group leaders character to design because we had a debate on how Skelly should be animated, my original skelly designs had the ribcage collective as one solid object, but the group leader wanted the ribs to be floating with a green magic glow. This was reasonable and at the time the animation itself did have a much longer ending scene but I suggested that it would be to much detail to animate.

Now Skelly has a short appearance at the end and proved an effective character design, despite the amount of detail.

Background and props design and production

Each prop was designed with the idea that the Goblin mage/wizard would be an amateur at his profession, so they are drawn to look like they are made really basic with wood.

Many of these props had been featured in the final animation in the background, these were the props from the original 'Prop list' that have been developed and are now used as concept art and reference in the environment background. These are basically for setting the scene and complementing the fantasy theme.

They are designed with enough line drawings at low opacity with mellow beige colouring and cool blues for the magical potions and bottles because of the special effects that will be added in an overlay layer and animated. 

Production

Animatic scene sketch

Sketched animatic with grey scale sketched backgrounds and character silhouettes for basic character placement and showcasing all action and movement, also very basic character interaction with the environment and props, using directional arrows and feature lines to suggest what the character is doing in the scene.

(Dan's animatic group work screenshot reference)

Drafting

Coloured and refined character with grey scale background. 

Using grey scale for background reference, making it easier for the group leader to insert the final refined background. Using the refined grey scale was important so that the animated characters could pass in and out of the shot, behind obstacles and props. This was effectively a template for the character animation.  

Refined 

Finished coloured refined background with coloured refined character animation layer on top.

Enhancing the narrative, the detail in the backgrounds used in the final animation create a feeling of depth and charm. Characters interaction and experiences in this detailed and refined world interest the viewer as each scene is drawn and coloured beautifully.

The refined character animations had been completed with sketchy bolt lines and block colouring, not the most fluent design, but this, as a group, was something that we all designed less and instead coordinated the extra effort into the background design, extra texture, shading and, special effects.

(Dan's final background image)

LAUAN503 - Experimentation (Pre-Production) - Gobbs & Skelly (weekly blogs 3)

LAUAN503 

Animation 3: Character & Narrative - Experimentation

Pre-Production - Develop your narrative and design the characters, the props and the world that will be required to bring your story to life as an animated short film

List of Props and Objects
The list of props the group leader gave the group to produce from, of pessary props and items for the animation plot interaction or just background detail as well as character clothing and character concept art.

Character Design, Gobbs the goblin:

As a group we designed individual character drawings and compared them afterwards, we would then collaborate our ideas and design features together.

(Suzy's character art, image for showing character design development)

Beginning with we had Suzy's  

Sketching my idea for a character with the brief thought of the theme of the animation background featuring steam punk and so i designed a suite coat and gizmos with a tattered style. The rest of the character design was already thought up such as the wizard hat and the character being a goblin wizard or mage.

Designing form the short goblin character idea, me and Suzy produced some sketches and coloured digital drawings that show the goofiness and quirkiness of a small goblin with oversized clothing and expressions, also enlarged features such as the ears.

Experimenting with the colour scheme and clothing for gobs the goblin.
(Dan's sketching for gobbs the goblin)

Character design, Skelly the skeleton:

This character went through three stages for redesign so that all of our team agreed that it worked and was going to be reasonable to animate.

(Dan's drafting for Skelly the skeleton)

Adding glow and colouring for a 'mutant' look or glowing ghoul features, experimenting with design.
(Suzy's skelly the skeleton design image)

Suzy's design featured the most radiated looking colouring.

I wanted the colour of the bones to stand out more and dull down the glowing effect and contain it within the bones structure more, such as the ribcage and skull. One of the features I also changed was the ribcage, I made it more more of a compact object without separate ribs but hollow.  

The group leader or 'director', Dan wanted a more ghostly effect for the skeleton, so we decided to go with his design for the character, featuring a more slimmed down version of all our character designs but with the ribcage open and have the ribs floating with a green glow.

Character design, Rat:

For the rat, as a group we decided to have his design more thin and different from actual rat features, giving him longer legs and narrow head with a pointy nose, I had the most influence on this character design and choosing to draw him like this with a long neck also and really long straight whiskers, for added character and quirky humour.

Although it was suggested that I make the eye pupils really small for the sketches and character design because the pupils I drew had been quite large, suggesting a cuter or softer character which wasn't the aim exactly for a rat.


Spell book design and props

These props will be mostly used in development directly from the props list, the group leader is in charge of props and environmental/background drawings and production, so he will choose props and ideas and use them or reduce the detail and simply feature them. 

LAUAN503 - Telling Tales - Script (weekly blog 1)

Telling Tales - Script

As a group we decided to cut the animation plot in half so save timing and production value and put extra work into the remaining scenes.

This is the full script with (cut) scenes, shots and character appearances.

FADE IN:

INT. CAVE - DUSK

The cave is dark only for a small glow of moonlight that lights up the floor of the cave. RAT scuttles along into frame, sniffing and searching for food. He stops and turns to see GOBBS’ feet marching past.

GOBBS is crooked and hunched over, he wears dirty ragged robes and a bent pointed hat or a hooded cloak. His face is dirty and painted like a skull and bones and different artifacts of witchcraft hang from belts and pouches around his robes. 

As GOBBS walks through the cave RAT begins to follow. GOBBS passes unlit torches that hang from sconces on the walls of the cave. They light up on their own as he passes, and continue to light his way up along the walls of the cave as the tunnel ahead becomes more carved and sculpted.

RAT watches as GOBBS follows the torches down the cave to some stone steps at the end. They lead down into another room, but we can see the green glow of something coming from the bottom of the steps. 

CUT TO:

INT. SORCERY ROOM

WIDE SHOT of a large stone brick room with a cauldron and old table in the center. The floor is littered with yellowed scrolls and dirty books, and the walls are lined with shelves that hold old books. Other jars, vials, and alchemical equipment is scattered about the room.

GOBBS enters and takes a large book down from one of the shelves. RAT arrives at the bottom of the stairs and peers round the entrance of the cave, watching GOBBS place the book down on the center table. He waves his hand over the cauldron and the logs underneath take light and flames rise up the sides. 

GOBBS removes his wand from his sleeve and places it on the page. Strange runes glow and lift up off the page, he floats them in the air for a second and then waves them at the portal wall runes.

Portal appears on wall, Gobbs shows surprise, then waves his wand again at a pile of bones. Bones float into portal, gobbs pauses and waits for something to happen, (audio describes suspense with sound effects).

Gobbs approaches the portal, skeleton suddenly walks out. Moment of interest (setting up tension and humorous anti-climax) Gobbs hands skeleton a sweeping brush (comedic relief).

(CUT).  RAT watches as GOBBS grabs various bones out of a box and carries them over to the portal, dropping them in and moving over to the shelves. RAT gets closes, curious. GOBBS takes a jar of brains and empties it into the cauldron.

(CUT). The cauldron bubbles and fizzes and shapes appear in the smoke, rising up the the portal. GOBBS stands back and a full skeleton falls out onto the floor before standing up before GOBBS. GOBBS hands the skeleton a broom and points to floor, the skeleton nods and starts sweeping. 

(CUT). RAT scuttles out from behind the cauldron and climbs into a pile of bones, sniffing around curious. GOBBS then sweeps up the bones and drops into the cauldron to make another skeleton. He adds in a brain and the portal begins to change colours and spark. The cauldron starts violently bubbling and shaking.

(CUT). Out of the portal spits a mutated RAT with glowing eyes. It has bones sticking out of it and its fur is patchy and scruffy. It begins to screech and runs around the cave, knocking over shelves and making a mess of the place. 

(CTU). GOBBS, in a panic, flicks his wand at the portal over and over again trying to reverse the spell. The portal whirrs and the giant rat gets sucked in. GOBBS breathes a sigh of relief and looks at the skeleton. 

(CUT). The portal starts flickering lightning and smoke starts pouring out of it, the skeleton starts getting sucked in bone by bone, and GOBBS, worried, gets sucked in too. 

- CUT TO BLACK

(THIS PART IS OPTIONAL I THINK IT’D BE REALLY FUNNY)

Starting out with the original ideas for story and character drawings from Suzy

Storyboarding:

(add Suzy's original storyboard sketches)

Using the Monomyth story template, these are the plot points in relation to our animation story plot.

1. 'Ordinary world' Rat enters scene in cave scratching and scuttling about.

2. 'Call to adventure' Gobbs the Goblin enters the scene, Rat jumps away, 'action' and adventure' in urgency.

3. 'Refusal of the call' The Portal pauses (next scene)

4. 'Meeting the Mentor' Gobbs close up shots, showing the audience the main antagonist character.

5. 'Crossing the First Threshold' Casting the spell, audio initiates slight suspense.

6. 'Allies, Enemies and tests' Casting the spell and floating the bones into the portal successfully.

7. 'Approaching the inmost Cave' Plot thickens, skeleton appears from the portal.

8. 'Ordeal' Skeleton awaiting command, audience anticipation for the Gobbs the Goblins decision

9. 'Rewards' Comedic Relief as a humorous anti-climax when Gobbs hands the skeleton a brush to sweep up instead.

END

LAUAN503 - Research Task - 'Media pros and cons' - Telling Tales (2 blogs)

Media pros and cons - Research Task

The 'Process' and 'techniques' (steps taken to achieve) for the animation 2D digital animation medium used for this group project, using digital media for production, potentials and limitations. 

Using digital 2D animation for our medium the process as a group had to be managed like any other medium, with different roles depending on particular talents, ability and style. 

The potentials for 2D digital media as a 'process' are that it can be easily learned, because everyone in the group has experience drawing 2D and using 2D digital media through drawing on a graphics tablets or even from traditional drawing but learning digital hardware.
Despite the fact everyone has different styles for drawing, digital 2D media offers easy ways for editing and more accurately producing work. Character designs can be refined and changed easily through concept art because of how easily appliable digital media is, for example colouring in detailed line drawings using layers.

The limitations for 2D digital media as a 'process' are that it is probably one of the most time consuming forms for animating, each frame needs to be individually drawn and coloured, not to mention shading and texture but also that most animations are required to be a 24fps, meaning long animations take months to process and even years in the industry.

The potentials for 2D digital media as a 'technique' are that it is simple and less complex, 2D involves less technology and software and hence it is easier to produce when compared to 3D, without any requirement for tutorials and procedures for production using different software, most animators are familiar with 2D digital as their starting point in animation.

The Limitations for 2D digital media as a 'technique' are that sometimes individual styles for drawing and designing create problems in the development stage, when group individuals will need to adjust to a particular technique of drawing that might not be theirs and they will have to adjust which might be challenging, slowing the production stage of the animation.

LAUAN503 - Cinematography Research (Blog 1)

Cinematography Research

(Notes)
Framing and composition, the bad sleep well (1960) the geometry of a scene.
Dutch angle, camera angle. Lighting is a really important special effect (storyboards, colour script).

(films of note)
Hugo graphic novel, research.
Stani cubic 1975.

Why the angle matters, storyboarding, communicate today with animation group (Friday 13th) about shot frame, layout, expressionism, enhance the narrative and story! Perhaps use One Piece anime screenshots examples.

Blog about decision making with frame shots on storyboard and ideas behind.

'One Piece' anime scene, Low camera angle showing that the attacker is coming from above. The surreal look that a fish-eye lens brings to architecture and landscapes can be captured for dramatic effect. 

This is another example screenshot from 'One Piece' showing that warped perspective for 'old school' stylish anime cartoons.

'Black dynamite' western adult swim cartoon chase scene, Dutch angle used to describe confusion in a character and dramatic environment of the background.

'The Incredibles' 3D animated film, Mid shot, viewers can see the characters' faces more clearly as well as upper body for interaction with other characters.

'The Lion King' Disney 2D film, focusing on the centred characters, Timon and Pumbaa, Close up shot between the lion characters legs, and more importantly a Low angle making a character look more powerful. This can make the audience feel vulnerable and small by looking up at the character.

An eye-level angle puts the audience on an equal footing with the character/s. This is the most commonly used angle in most films as it allows the viewers to feel comfortable with the characters.

LAUAN503 - Telling Tales 01 - Story dice (weekly blog 1)

LAUAN503 - Studio Brief - Telling Tales

My symbols are, Dragonfly, Pterodactyl, and the Sea with a sun.

DRAGONFLY
I googled dragonfly because I was stuck for ideas, there are usually stories and meanings in most pictures made to represent symbols, which helps me think of an animation narrative.

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  PTERODACTYL

  The Pterodactyl is most likely to be my character, a ship name, vehicle type or beast in the animation because it represents, history, flight and creature for some of my thoughts.

  
  

  
  

  
  

  
  

  

  
  

  
  

  THE SEA
  The sea is most likely to be the environment or world for my animation. It could also be the everlasting plane for a setting or have a deeper meaning for a plot.

  
  

  

  
  
  I decided to go with the more obvious option, and stick with my fantasy layout, featuring characters with sentient involvement in the story, as animals. Here I am sketching some ideas for a story, I have come up with some basic ideas for a cartoon setting.
  
  
  The first was that the Pterodactyl was an old rusted plane flying high in the sky, then inventors trying to create a flying plane and naming the invention of this vehicle The Pterodactyl. Then i thought of a pirate ship under attack from an actual dinosaur Pterodactyl.
  
  

  

  
  Put I liked the idea of dinosaurs in a forest, the predator and the prey, Avian to the dragonfly, but in a twist of events, the dragonfly saves the Pterodactyl from being hit with a natural disaster, a tsunami.
  
  
  
  
  
  
  
  
  

  

  
  
  

I liked these characters and concept art, even thought I feel like I sacrificed on a more illiterate story, but I knew i wanted to keep the animation plot short and sweet. Also keeping the work load down as much as possible. 

This is more concept art that I had drawn for my presentation for the group and see if they vote for it or not.

LAUAN503 - Research (Pre-Production) - (weekly blogs 3)

LAUAN503


Animation 3: Character & Narrative - Research

Background and concept research

One of the original designs for a room, inside which of would be most of the animation's story, would be based on a mayan design or influence architecturally.

Mayan and ancient symbols for the spell book and ideas for spells in this fantasy setting, spells and incantations.

As a group we discussed what theme the animation should have for the setting and background, based on the story development, because the animation featured magic and a goblin, we had the ideas for fantasy, ancient and science fiction.
The idea for a Steam punk setting would give us the chance to design some really intricate and detailed backgrounds with lots of ancient styled tools and trinkets in the background.

Character research 

We wanted a main character that would interest all of the group, we came up with a drawing of a creature from medieval fantasy words, wearing used rags and a gown. 

Taking the features from the original designs of long ears but mainly animalistic characteristics, like a bat and combining them into an anthropomorphic character.
A goblin mage/wizard, casting spells wearing a mage's gown or cloak, taking inspiration form fantasy themed art online, from clothing to weapons and character appearance.

With the idea for a mayan, mythology setting, came the idea for a tribal character with chanting spells and rituals around a fire, prone to accident or mistake, prompting an easy humorous plot.

We thought that a smaller Goblin would carry more humous value and have more mischievous feelings or clumsiness perhaps, also this character could play on the environment with a lot of funny scenes on attempted rituals or casting spells.





Studio Brief  - Telling Tales

Before we create ideas for our plot based from the story dice, we looked at character roles and the basics of story points around the characters.

Revising the iconic roles in any story or plot, these characters are present in every tale and play an important role such as setting the story, conveying emotion or relating to the audience.

The Hero's Journey is a narrative, the monomyth, or the hero's journey, is the common template of a broad category of tales that involve a hero who goes on an adventure, and in a decisive crisis wins a victory, and then comes home changed or transformed.