Monday 28 May 2018
Lost Boy - The Art Room - Concept Art & Colour keys
Lost Boy - The Art Room - Concept Art WIP
I am spending some time reimagining the art room, I want to try and show what a creative hovel it was by amping up the exaggeration by showing it as a cave with bric a brac littered throughout. If I decide to go with these designs for the final film it will be interesting to see how this will work the white background for the representation of memory. I need to be careful with the juxtaposition of the open white space to the cramped nature of the art room and make sure that it isn't too jarring, I could possibly have it fade in or I could have the Camera zoom through one of the arches which would be white and then have it translate to the inside of the room with the arches maybe turning dark, I could also try rendering layers separate, I am thinking about modelling the stalactites and stalagmites along with the cave walls in mudbox as I feel it would be more organic. I am going to be doing tests of these along with spending time doing quick sketches such as this for other areas of the story to see what flourishes, I will add finishing touches such as colour and experiment with palatable palettes that work.
Friday 18 May 2018
Toolkit 2: Submission
Maya: Pipeline 1 - Head modelling
Maya: Pipeline 1 - Body modelling
Body Modelling Part 2 - Torso & Arms
Body Modelling Part 3 - Legs & Pelvis
Body Modelling Part 4 - Legs & Boots
Body Modelling Part 5 - Gloved Hands
Body Modelling Part 6 - Hands And The Final Model
Maya: Pipeline 1- UV Layout
UV Layout: Part 1 - Head & Head Details
UV Layout: Part 2 - Body & Exporting Maps
Maya: Pipeline 1- Skinning
Skinning Part 1 - Ribbon Spine
Skinning Part 2 - Building a Skeleton
Skinning Part 3 - Binding & Weight Grouping the Mesh
Skinning Part 4 - Blending the Upper Body
Skinning Part 5 - Blending the Lower Body
Skinning Part 6 - Adding Pose Space Deformers (Corrective Blend Shapes) Upper Body
Skinning Part 7 - Adding Pose Space Deformers (Corrective Blend Shapes) Lower Body
Body Modelling Part 3 - Legs & Pelvis
Body Modelling Part 4 - Legs & Boots
Body Modelling Part 5 - Gloved Hands
Body Modelling Part 6 - Hands And The Final Model
Maya: Pipeline 1- UV Layout
UV Layout: Part 1 - Head & Head Details
UV Layout: Part 2 - Body & Exporting Maps
Maya: Pipeline 1- Skinning
Skinning Part 1 - Ribbon Spine
Skinning Part 2 - Building a Skeleton
Skinning Part 3 - Binding & Weight Grouping the Mesh
Skinning Part 4 - Blending the Upper Body
Skinning Part 5 - Blending the Lower Body
Skinning Part 6 - Adding Pose Space Deformers (Corrective Blend Shapes) Upper Body
Skinning Part 7 - Adding Pose Space Deformers (Corrective Blend Shapes) Lower Body
Maya: Lighting & Rendering 2
Arnold part 13 - Geometry Override Sets
Arnold Part 14 - Physical Sky Light
Arnold Part 16: Mesh Lights
Arnold Part 17: Ambient Occlusion
Arnold Part 18: Photometric Lights
Arnold Part 19: Depth of Field
Arnold Part 20: Fog (Legacy) & Atmosphere
Arnold Part 21: Displacement
Arnold Part 22: Sub Surface Scattering
Arnold Part 23 - AOV's
Arnold Part 24 - Stand Ins (Proxies)
Arnold Part 25: Motion Blur
Arnold Part 26 - Caustics
Animation: Weightlifting exercise
Moom weightlifting final playlist
Animation: Lip Sync
Facial Animation - Phonemes
Facial Animation - Jaw Bounce
Facial Animation Progress - Lip Sync, Jaw Bounce & Phonemes
Moom Animation - Extreme Brows & Eyes
Moom Animation - Head Movement
Animation: contribution to the Collaboration project
Collaboration Animations
Drawing: Character Design Bible
Character Design Bible
Drawing: Life Drawings
Life Drawing Session 2
Life Drawing Session 3
Life Drawing Session 4
Life Drawing Session 5
Life Drawing Session 6
Life Drawing Session 7
Life Drawing - Session 8
Life Drawing: Session 9
Life Drawing - Session 11
Life Drawing - Session 12
Life Drawing - Session 14
Life Drawing - Session 15
Life Drawing - Session 16
Life Drawing - Session 17
Acting
Acting Classes
Sculpting
Sculpting Classes
Infographic
Infographic
Arnold Part 14 - Physical Sky Light
Arnold Part 16: Mesh Lights
Arnold Part 17: Ambient Occlusion
Arnold Part 18: Photometric Lights
Arnold Part 19: Depth of Field
Arnold Part 20: Fog (Legacy) & Atmosphere
Arnold Part 21: Displacement
Arnold Part 22: Sub Surface Scattering
Arnold Part 23 - AOV's
Arnold Part 24 - Stand Ins (Proxies)
Arnold Part 25: Motion Blur
Arnold Part 26 - Caustics
Animation: Weightlifting exercise
Moom weightlifting final playlist
Animation: Lip Sync
Facial Animation - Phonemes
Facial Animation - Jaw Bounce
Facial Animation Progress - Lip Sync, Jaw Bounce & Phonemes
Moom Animation - Extreme Brows & Eyes
Moom Animation - Head Movement
Animation: contribution to the Collaboration project
Collaboration Animations
Drawing: Character Design Bible
Character Design Bible
Drawing: Life Drawings
Life Drawing Session 2
Life Drawing Session 3
Life Drawing Session 4
Life Drawing Session 5
Life Drawing Session 6
Life Drawing Session 7
Life Drawing - Session 8
Life Drawing: Session 9
Life Drawing - Session 11
Life Drawing - Session 12
Life Drawing - Session 14
Life Drawing - Session 15
Life Drawing - Session 16
Life Drawing - Session 17
Acting
Acting Classes
Sculpting
Sculpting Classes
Infographic
Infographic
Wednesday 16 May 2018
Tuesday 15 May 2018
Monday 14 May 2018
Sunday 13 May 2018
Saturday 12 May 2018
Thursday 10 May 2018
Premise: Reflective Statement
Premise has thought me a lot about the malleable means of animation, through the use of white space in my pictured idea for Lost Boy I really feel like I understand about how anything is possible in animation and how to exaggerate the animation in order to conceptualise the words.
It has been really invigorating to tell the story of Lost Boy because it is extremely personal to me. I want to instil the viewer with comical, heartwarming and hopeful images but also at times with a tinge of sadness and I think I have accomplished this with my animatic. It has been really nice to feel like I am starting to get a personal style for myself one of which I don't really have to overthink when I do quick sketches, I'm understanding that it's not about perfection but about getting the idea or the emotion across and one that I really enjoy doing while maintaining control over the image. I have learned that animation is also about taking things out such as taking out an original idea of having a modelled person in the cupboard and instead just show their judgy eyes,
As I was creating the storyboard for Lost boy I started to realise little nuggets of information were right there in my drawings that tied things together nicely and foreshadowed the following or altered the previous panels. I originally had planned for the part "it was like a light switch coming on" to have an actual light switch appear on the present Graeme's forehead but I didn't take into consideration the fact that I had drawn a light on the security machine that set up the rest of the intensity in the climax for the airport scene. I then started to consider the airpot scene more, for the part with the Present Graeme turning around on the coveyer belt I originnaly with his eyes popped out I was just going to have a camera turning around him but I wanted to really show the humilation so a coveyer belt being the means of movement flourished taking into consideration things that move in an airport, I also remember what it was like being in the airport and how asking for help was useless so this resulted in drawing stitches over the mouths of the black phantom figures because in that situation they might aswell have not been pysically able to talk.
I knew that I wanted to keep the animation as something that recollects being a child so I wanted toys to be exaggerated into the animation with the spring eyes being a reference to spring eyeglasses and the rocket being something that reflects what the young Graeme is drawing.
The feedback that I was given has really made it clear into what direction to turn in, dialling up the rubberiness of the animation and having a mash up of different styles while maintaining the style of the animatic I think will give Lost Boy an edge and is exactly where I want it to head in. I think Birgittas feedback was really interesting I would love to give claymation a whirl - it has always been something that has fascinated me especially from one of my favourite band's - glass animals music videos Exxus and Pools. Claymation tied together with a kitbash of CGI that looks traditional and 2D animation layered on top would be fascinating.. I think I might buy some play doh..
As I said in the crit I do find it frustrating that I find it difficult to covey the movement that I want to be shown with 2D animation such as flash as I found it difficult in Nat's class last year.. but that frustration also fuels me - one of the other inspirations for Lost boy is Bill Plympton's Your Face. although I may never be able to animate with such fluidity as Your Face I can certainly try and find my own ways around making it manageable,
For now moving ahead with Lost Boy I want to get better at 2D animation like Phil suggested by experimenting with Photoshop and other means, I want to do tests in maya, start modelling the characters and try and come up with more scenarios that correlate to the script in which I dramatize the rubberiness of the animation more than what I conveyed in the animatic. I have honestly felt the inspiration bubbling from me with Premise and I am really excited to dig deep into the exploration aspects that Lost boy focuses on while telling this story the best way imaginable.
It has been really invigorating to tell the story of Lost Boy because it is extremely personal to me. I want to instil the viewer with comical, heartwarming and hopeful images but also at times with a tinge of sadness and I think I have accomplished this with my animatic. It has been really nice to feel like I am starting to get a personal style for myself one of which I don't really have to overthink when I do quick sketches, I'm understanding that it's not about perfection but about getting the idea or the emotion across and one that I really enjoy doing while maintaining control over the image. I have learned that animation is also about taking things out such as taking out an original idea of having a modelled person in the cupboard and instead just show their judgy eyes,
As I was creating the storyboard for Lost boy I started to realise little nuggets of information were right there in my drawings that tied things together nicely and foreshadowed the following or altered the previous panels. I originally had planned for the part "it was like a light switch coming on" to have an actual light switch appear on the present Graeme's forehead but I didn't take into consideration the fact that I had drawn a light on the security machine that set up the rest of the intensity in the climax for the airport scene. I then started to consider the airpot scene more, for the part with the Present Graeme turning around on the coveyer belt I originnaly with his eyes popped out I was just going to have a camera turning around him but I wanted to really show the humilation so a coveyer belt being the means of movement flourished taking into consideration things that move in an airport, I also remember what it was like being in the airport and how asking for help was useless so this resulted in drawing stitches over the mouths of the black phantom figures because in that situation they might aswell have not been pysically able to talk.
I knew that I wanted to keep the animation as something that recollects being a child so I wanted toys to be exaggerated into the animation with the spring eyes being a reference to spring eyeglasses and the rocket being something that reflects what the young Graeme is drawing.
The feedback that I was given has really made it clear into what direction to turn in, dialling up the rubberiness of the animation and having a mash up of different styles while maintaining the style of the animatic I think will give Lost Boy an edge and is exactly where I want it to head in. I think Birgittas feedback was really interesting I would love to give claymation a whirl - it has always been something that has fascinated me especially from one of my favourite band's - glass animals music videos Exxus and Pools. Claymation tied together with a kitbash of CGI that looks traditional and 2D animation layered on top would be fascinating.. I think I might buy some play doh..
As I said in the crit I do find it frustrating that I find it difficult to covey the movement that I want to be shown with 2D animation such as flash as I found it difficult in Nat's class last year.. but that frustration also fuels me - one of the other inspirations for Lost boy is Bill Plympton's Your Face. although I may never be able to animate with such fluidity as Your Face I can certainly try and find my own ways around making it manageable,
For now moving ahead with Lost Boy I want to get better at 2D animation like Phil suggested by experimenting with Photoshop and other means, I want to do tests in maya, start modelling the characters and try and come up with more scenarios that correlate to the script in which I dramatize the rubberiness of the animation more than what I conveyed in the animatic. I have honestly felt the inspiration bubbling from me with Premise and I am really excited to dig deep into the exploration aspects that Lost boy focuses on while telling this story the best way imaginable.
Thursday 3 May 2018
Wednesday 2 May 2018
Premise: Text Designs & Art of test pages
I have created some text designs that I want to use in my Art of with either a sketchy, watercolour or painterly feel. I'm feeling no 1, 3, 17 and 20. I want my art of to reflect the character in that he is a bit messy with crumpled paper, random tea stains and little doodles scattered throughout - I need to be careful with this as to not distract the reader from the text. I do want to rough up some real paper/spill some tea on it with possible dog ears and scan it in to use in the Art of. If I decide to go with the rotoscope option I think it could be interesting to have little doodles spring up around youngin Graeme in parts that correlate with the story of him doodling in his own little world.
Tuesday 1 May 2018
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