Animation references

 Animation References                                                                                                              31/03/23

    

 

 

  

 

 

 

 

 

These image references will be the basis for my animations in my final project going forward.  For the first draft of the live-action animatic, I will accompany the live-action shots with a rough pose drawing to indicate what kind of effect will be in the final shot and to provide a guide on how the scene will be composed and edited.  So far, I'm nearly done with the first version of the live-action animatic, and whilst a few shots look like they're in need of being redone, the video should not take much longer to finish and can act as video material for the Advanced production module.  So far, the rough cut of the animatic is nearly 12 minutes long, with about one and a half minutes total of animation.  This low animation to live-action ratio is recommended by tutors, given how much more time is required for animating in comparison to live-action.  I also have to do an assessment video and a brief show-reel as part of my module submission materials.  Somehow, I will find a way through it all and produce enough to make the grade, but it will be a very lengthy and dedicated procedure.  

Animations/compositions done so far:

• Penguin walk-cycle
• Deer walk-cycle
• Jute growing

Animations/compositions to start work on:

• Hand joining
• Harpist
• Jute processing
• Printing
• Snake
• Pictish fish
• Whale
• Lava
• Pictish figure
• Watercolour filter
• Alien projection
• Distortion animatic
• 
  

 

Final Project Post-production

Final Project Post-production                                                                                                                       29/01/23

Figure 1: Editing studio: https://nofilmschool.com/2016/12/best-post-production-tools-2016

After five full days of shooting, the principal photography on my final film is complete, and I can move onto the integration of the animation.  I will obviously have to modify some of the shots in my film, whether it be increase their duration or add something like a sanded glass background to avoid any unwanted intrusion.  It was definitely a big boost to have someone else oversee the production for external feedback.  For the character animation of my Pictish-inspired creatures, I will need to make enough keyframes and in-betweens for them to the point where they can move in a cycle seamlessly enough.  I am currently developing the Pictish beast animation by modelling it on a royalty-free Chinese Dragon GIF, but I need to figure out a method of animating it whilst keeping the proportions consistent.  I also need to develop the model for my whale more with some more detailed features round the mouth, clearly defined eyes, a few whale barnacles for some indication of age, a texture map, and a usable rig and animation cycle for integration into footage with Element 3D.  A pivotal character that I need to start work on is the figure from the Kirriemuir Pictish figure which derives from a Pictish located near the Hill of Kirriemuir.  Though this character was described as a bit pointless in my animatic, the figure is meant to be a symbol of how much happier my family and I have been since moving to Scotland and how much we've made the most of life here.  

With the juggling of extra modules and work, and even having to share the TVPaint laptops with other animators who are under equally as much pressure, I will need to spread out the 2D animation and rotoscoping to a degree that can be doable in the time we have available.  I've experimented with the animation software enough to the point where I can comfortably use and produce usable footage, and the Jute animation footage might be usable in its current state.  The extra footage for animation will surely take another five months to perfect, though I in order to do a rough draft of the film for Advanced Production material submission, I could try adding some rough pose drawings to give an indication of the intended effect.  Although, I have learned through the tutorials that I need to export my animation as a PNG sequence for integration through After Effects so that any stray animation frames can be more easily fixed.  I hope my experience working alongside Wild Child as an animator will help me overcome the faults with my drawing that I currently have, most notably some irregularities in proportions.

The extra time needed for other modules will certainly mean more late nights in the Media Lab in order to accommodate the deadlines that we have coming up.  It will mean that I have to give up time in some societies but once we've made it through the workload for the semester and the course, it will hopefully all be worth it.  I am still sticking to a more 2D-centered approach to my film, because of my personal preference and increased familiarity of the technique, as well as the fact that the easier integration methods.  After a trip to the computer repair store, I can confirm that my laptop is unsuitable for Maya workflows: it simply does not have the graphic capability or the processing power needed to sufficiently run the software.  I might have missed the part in the module guide that says a gaming laptop is required.

Figure 2: Kirriemuir second Pictish Stone: https://en.wikipedia.org/wiki/Kirriemuir_Sculptured_Stones#/media/File:Kirri_1_B.JPG

Going Live Concept Artwork

 Going Live Concept Artwork                                                                                                                         25/01/23

These are the images I've submitted so far for the concept art for our Going Live project.  At this time, we are undecided as to whether or not we should move forward with Sinbad or The Wizard of Oz as the basis for our pitch for Wild Child.  We have decided to aim our show towards children aged 4 - 10, so that means we have to go with fairly simplistic character designs and bright, colourful backgrounds to appeal to that demographic.  For my role in the project, I have decided to aim more towards concept artist and an animator (mainly because I volunteered for that role before the start of semester), and for concept artist, I would prefer if the role was aimed more at backgrounds because this is the area that I feel more comfortable with.  If they ask me to lean more towards concept art for characters I will.  

Once I finish the principal photography for my final film, I will hopefully be able to focus more of my time on the current modules.  I've also had to apply for a laptop loan for a computer that can use Maya efficiently for the new life drawing classes that create replicas of the models in 3D, since Maya on my current laptop will surely damage it.

Production Update 25/01/23

 Production Update                                                                                                                                    25/01/23

Figure 1: Camperdown aerial view: https://abovedundee.com/dt_gallery/camperdown-house-dundee-scotland/

This week on Advanced Production has been interesting to say the least.  So far I've managed to complete three days worth of production, and I am still aiming to film on Saturday with my roommate to get the whole thing done.  I've also had to contend with a poignant toothache that's been plaguing me since Sunday.  Filming by myself has not been the most efficient experience in the world, as I've had to film setpieces in scenarios where I have to not get anyone or anything in shot other than myself.  That has meant that by far the easiest thing to film throughout the whole production has been the wall shots where there has been no interruption or obstruction.  

Figure 2: Verdant Works: https://www.google.co.uk/url?sa=i&url=https%3A%2F%2Fwww.visitdundee.com%2Fthings-to-do%2Fattractions%2Fverdant-works%2F&psig=AOvVaw0KvNyN6qy1_A_1757Kf5t6&ust=1674726238077000&source=images&cd=vfe&ved=0CA8QjRxqFwoTCNDQjsa34vwCFQAAAAAdAAAAABAE

As of January 25th, I've managed to complete at least four days worth of filming, and I need just one more day to get the last few scenes done.  There is every likelihood that we might have to do some reshoots, but I feel that the work I've done so far can at least be fixable to the point of being usable.  With enough practice and patience, I can figure out how to set up the camera and the tripod relatively quickly and get filming underway.  The challenge with these shots now is to create a reasonable level of integration with the 2D animation and especially the model of the whale.  The filming has also taught me the importance of having someone else to man the camera, and if circumstances were more lenient, I would have taken someone else with me to help perfect the shots.  For the time-being, where the project will go next will depend on the reception and feedback of the course tutor.  The tutorials are tough, but they are very much a compulsory part of the learning and we need to acknowledge any problems that come up.  I'm also eager to use the DVX-200 for some voluntary filming in April at a local music festival.  

Figure 3: Panasonic AG-DVX200: https://www.visuals.co.uk/4758231-agdvx200ej.html

Going Live idea devising

Going Live idea devising                                                                                                                22/01/23

For the Going Live module, we are assigned to come up with a concept for a short series.  Due to the requirements of the other module, I recognise that it must be feasible, simple and easily explainable.  Upon observing the portfolio of Wild Child and their previous projects adapting children's materials, they suggested that we adapt a story in the public domain, such as the Wind in the Willows.  I have previously adapted said story for my BA Final Year.  My roles for the Going Live module will be as an animator and compositor.  Admittedly, coming up with an idea that works for the project and the time we have left is pretty hard for me.  I considered submitting an idea based around a bakestore similar to Bob's Burgers but that would be completely impractical and unoriginal.  The project would need to be executed in the form of a short with a synopsis that could be explained in a sentence.  

 

Figure 1: Grasshopper and Ant: https://thumbs.dreamstime.com/z/cartoon-ant-grasshopper-illustration-98485868.jpg

The first short story that comes to me for this would be the Grasshopper and the Ant.  A simple Aesop's fable that focuses on an ant that is busy preparing for the cold winter months where food is scarce and conditions are rough, and a grasshopper who is reckless, inconsiderate and lazy.  Come winter, the grasshopper is paying for his lack of preparation, whilst the ant is warm and safe in her house.  A cartoon short series that would focus on this premise would involve some comedy-esque scenarios where the grasshopper is relaxing in the sunshine and the warm environment, whilst the ant is busy braving the elements to prepare for the future.  The ultimate aesop of the story is "always save for a rainy day".  This fable has been adapted a number of times before, and was the basis for the ants and grasshoppers conflict in A Bug's Life (1998).

Figure 2: A Bug's Life (1998) poster: https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.disneyplus.com%2Fmovies%2Fa-bugs-life%2F2kV0c48TF0Ea&psig=AOvVaw0bcq5Phq-RY685w58QeH17&ust=1674501999792000&source=images&cd=vfe&ved=0CA8QjRxqFwoTCKj02pj02_wCFQAAAAAdAAAAABAE

 

Figure 3: Fables de La Fontaine: https://en.wikipedia.org/wiki/The_Ant_and_the_Grasshopper#/media/File:Grandville_-_Fables_de_La_Fontaine_-_01-01_._La_cigale_et_la_fourmi.jpg

A similar aesop can be found in the Little Red Hen, which is focused on building personal initiative and hard work.  The story is that there is a hen who is growing wheat to mill into flour for bread, and she asks the other farm animals for assistance, and every time they refuse.  When the bread is finally bloomed, the hen asks if the other animals will eat the bread with her.  This time they eagerly accept, but the hen refuses as punishment for their lack of help.  This could also be a valid basis for a short cartoon, with the hen going through all sorts of escapades to get the wheat and additional ingredients for her bread, and the animals continuing to show no will to help.

 

Figure 4: The Little Red Hen: https://www.ladybirdeducation.co.uk/ladybird-books/little-red-hen/

One bright day in late autumn a family of Ants were bustling about in the warm sunshine, drying out the grain they had stored up during the summer, when a starving Grasshopper, his fiddle under his arm, came up and humbly begged for a bite to eat.

"What!" cried the Ants in surprise, "haven't you stored anything away for the winter? What in the world were you doing all last summer?"

"I didn't have time to store up any food," whined the Grasshopper; "I was so busy making music that before I knew it the summer was gone."

The Ants shrugged their shoulders in disgust.

"Making music, were you?" they cried. "Very well; now dance!" And they turned their backs on the Grasshopper and went on with their work.

There's a time for work and a time for play. - (Library of Congress)

Weekly update for semester

Weekly update for semester                                                                                                                    18/01/23

Figure 1: Seoras character design sketches

Here is the latest update on the progress of my degree thus far.  It's been a full-on week, and I've started to realise that this may well be the point in the degree where things get truly intensive.  We've had some intense scheduling conflict with the trip to Wild Child in Stirling that was supposed to take place this week, and I've had to acknowledge that there is always extra work to do.  I've attached some very basic sketches of how the character is going to look (I always intended the character to look like a very basic human, much like the old Star Trek TV series), and I've also done a very basic recce of each of the locations in my film so far.  I've also done a very basic first draft of the whale model for my film which is desperate need of some refining from someone more experienced.  Currently the model has the basic outline of a whale, but I recognise that it does need some more detail and smoothing to look professional enough.  

I've also had a go at filming some of the footage for the final project myself, and I've managed to get some usable footage for about 1 1/2 scenes in the film. The sound was pretty good for an incorporated mic, and the lighting was actually serviceable.   So far, I've done the opening scene and the waterside scene sans the segment with the charging boar and climbing the staircase.  That just leaves Verdant Works/West Ward Works, Cox's Stack, Commercial Street and Camperdown for scenes that I accomplish myself.  For the station, Dundee Law and the scenes on the Lookout Point, I need an additional cameraman for the angles required.  It was also during today's filming experience that I was reminded that filming, especially when you're just doing it by yourself can take a lot longer than you realise.  This is definitely a project that cannot be done in just one day, with or without a car for transport, but with enough flexibility and persistence, I know that it can be done.

 

Camcorder tests

 Camcorder tests                                                                                                                                           16/01/23

Figure 1: JVC HD Camcorder and Panasonic 4K camcorder

In preparation for the filming of my final project, I have tried out some camcorders for the filming.  These include the JVC GM-HY100E HD model and the Panasonic AG-DVX200 4K model.  The Panasonic model is heavier, and needs a more robust, heavy-duty tripod, but has a better lens with more depth, a far superior recording quality, better audio and so far, an easier method of offloading footage from the SD cards.  The tripod will more than likely be more difficult to set up, but the footage from the Panasonic camcorder will be less noisy and make the incorporating of animation hopefully easier.  Even though the video requirements for the final film will still be 1080p at 25fps, the extra video quality will be a big boost.  The downside to this is that the 4K camcorder may well be more difficult to set up.  The deeper lens on the Panasonic camcorder might make the shots I want from my storyboard more achievable.  

Animation references: whale

 Animation references: whale                                                                                                                      15/01/23

Figure 1: Blue Whale: https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.bbc.co.uk%2Fprogrammes%2Farticles%2F4t6hSxdpxrXNXVrYkTck6fg%2Fblue-whale&psig=AOvVaw3wlx0q-alHPrUE_t7lDVtX&ust=1673896686593000&source=images&cd=vfe&ved=0CA8QjRxqFwoTCJDqgZ2lyvwCFQAAAAAdAAAAABAJ

The shot in my final film that I hope to gain the most attention and put the most effort into for my Going Live module is that of a blue whale.  I have chosen this because of its cultural significance to Dundee and how the whaling industry contributed to the city's economy.  In its shot, the whale will fly over the Tay and the Tay road bridge  I have made an animation using pre-made whale models in Element 3D, but I realise that I need to learn to craft, rig and animate the model professionally if I want to be seen as a competent animator.  The animation will definitely need to be the most impressive of all the shots in my final film so a lot is riding on it.  Once I've crafted the model, I will need to light it so that it fits the environment it's in, cast a fitting shadow, and use sound, scale and any other available means to show the viewer the size of it in contrast to the protagonist.  Whilst the creature will appear in the protagonist's vision, it will need to also the lost realistic and integral of all the animations.  In terms of references for my whale, the first one that comes to mind is the blue whale from Finding Nemo.

Figure 2: Images for constructing whale model

These are the image references I used to build my first whale model on top of it.  Whilst the model I made in Blender was still retained, sadly the model I made in Maya was deleted, so I will need to start from scratch on that front.  Based on what I can I identify from the images and a skeleton of a blue whale I can identify the amount of joints I need to give the model the right amount of flexibility and realistic movement with a joints for the right amount of vertebrae in the back, dorsal fin, side fins and jaws.  I have sketched out a perception of where the joints are.  This is admittedly a very amateur drawing of what a rig should look like, but hopefully it provides the extra perspective required.

Figure 3: Whale skeleton:https://projectdal.ca/project/bluewhale/

Game plan for filming of final project

Game plan for filming of final project                                                                                     13/01/23

Figure 1: Route of filming: https://www.google.com/maps/dir/Mears+Student+Life+-+Old+Mill,+Dundee,+21+Brown+St,+Dundee+DD1+5EF/Tay+Bridge+Kiosk,+Newport-on-Tay/Lookout+Point,+Dundee/Dundee+Station,+South+Union+Street,+Dundee/Verdant+Works,+West+Henderson's+Wynd,+Dundee/Commercial+Street,+Dundee/Cox's+Stack,+Lochee,+Dundee/Dundee+Law,+Law+Road,+Dundee/Camperdown+Country+Park,+Dundee/@56.4642816,-3.0012403,14z/data=!3m1!5s0x48865cd01d995c91:0xb4db47d986c37445!4m56!4m55!1m5!1m1!1s0x48865cc12d8da1f3:0xa6340b261f90d4ec!2m2!1d-2.9789418!2d56.4622173!1m5!1m1!1s0x48865c7b3d13d6a5:0x9ac46c85285fac6f!2m2!1d-2.9312041!2d56.4473724!1m5!1m1!1s0x48865d7de10b8edb:0x769102c435444a1e!2m2!1d-2.9610206!2d56.4595656!1m5!1m1!1s0x48865c957bdef6c9:0xb8c6ec4664dc1f18!2m2!1d-2.9693961!2d56.4576709!1m5!1m1!1s0x48865cc7b2613e8f:0xf10c58b8aee11738!2m2!1d-2.9834568!2d56.4614583!1m5!1m1!1s0x48865ceb05e48bd9:0xdce22ca5ce21f088!2m2!1d-2.968106!2d56.4614315!1m5!1m1!1s0x4886432cd28df0e1:0xf59f9c9768d15d63!2m2!1d-3.0034351!2d56.4727837!1m5!1m1!1s0x48865cc86632ed21:0xd7957762f2bc01ef!2m2!1d-2.9893344!2d56.469762!1m5!1m1!1s0x488642e04ac34535:0x58ec73ebfdf8b794!2m2!1d-3.0374713!2d56.4812642!3e0?hl=en-GB

On Saturday 28th January, I will commence the principal photography for my final project film, Seoras, at several different locations around Dundee which are known for their cultural prominence.  My cameraman, Kevin, has a drone license, but there is only one location where we are legally allowed to use it due to the proximity to Dundee Airport.  After recent discussions with my tutor, I have realised that I will need to use more than camera due to the depth required for certain shots.  I have started work on an animatic that will make the flow and structure of my shots and narrative clearer, but I have chosen a rather simple narrative style for my film that will assist my cameraman with what's going to be filmed.  Equipment-wise, I will aim to have three cameras in my arsenal: a JVC 1080p camcorder (I tried to get a 4K camcorder but it requires a tutorial), a Canon DSLR with a 300mm lens for the required depth and a drone which will be used once.  I will also need a compatible tripod, some means of recording external sound and a means of controlling light.

The shooting of the film will be in this order:

1.Tay Bridge Memorial

Figure 2: Tay Bridge Roundabout: https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.bbc.co.uk%2Fnews%2Fuk-scotland-tayside-central-34465256&psig=AOvVaw0pQJENoB7YSAIvWKVHEUHe&ust=1673889261535000&source=images&cd=vfe&ved=0CA8QjRxqFwoTCOCzwMiJyvwCFQAAAAAdAAAAABAE

The Tay Bridge memorial will be the first location as it was my first access point to Dundee when we were house-hunting in Scotland, and I got my first taste of Dundonian life.  The plot of the scenario is as follows: the camera will track the Tay Bridge memorial slowly and carefully, enough for an astral-like projection to appear on it, and then my camera will appear from behind the memorial and walk towards the camera to get a sight of the Dundee riverside.  He will then put on a pair of glasses that will allow him to see the city with a painting-like filter on top.  He will then uncover a shirt resembling the colours of a local clan, and then put it on, before proceeding down the central walkway on the Tay Bridge.  This scene will be accompanied by the recurring double discs in my film as well as the title card on a drone shot.  This is the only location in the film where drone filming is allowed due to the proximity to the airport.

2.Tay Riverside

Figure 3: Tay Riverside Drive: https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.geograph.org.uk%2Fphoto%2F2784097&psig=AOvVaw1wmf92y9vuLUcBZkL-LLtA&ust=1673889325617000&source=images&cd=vfe&ved=0CA8QjRxqFwoTCKinieeJyvwCFQAAAAAdAAAAABAE

The second scene of my film will take place on the Dundee riverside, specifically in the area around the staircase from the Tay Bridge.  The protagonist will walk down the grand staircase, indicating he has traversed the central walkway, and then walk towards the lookout point opposite the office and residential blocks.  He will see a snake animation in the metalwork, and then proceed up the spiral staircase.  At the top of the lookout point, he will then see a vision of a blue whale flying over the water and the bridge, which immediately stuns him.  He will then walk back down the walkway, and will then see two more animations: a Pictish-style vision of salmon swimming on the beams of the bridge, and an intimidating vision of Pictish boars charging along some woodwork sealing off a restricted area.  All these visions will be accompanied by a set of double discs.  He will then proceed towards the station.

3.Dundee Station

Figure 4: Dundee Station: https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.curtismoore.co.uk%2Fdundee-railway-station-project-complete-open-to-the-public%2F&psig=AOvVaw19MyCFsZk0CNO4GsPkiXLL&ust=1673889372310000&source=images&cd=vfe&ved=0CA8QjRxqFwoTCPj4rv2JyvwCFQAAAAAdAAAAABAK

The scene at the station will open with a panning shot traversing a set of windows in the hotel complex before landing on the protagonist observing the glasswork.  He will then peer into the glass, and then it will cut to a POV shot from the protagonist's perspective, which will feature a penguin animation carved into the glass with another set of double discs.  Then it will cut to another POV shot from the other side of the glass, which will look like he's observing thin air.

4.Verdant Works and West Ward Works

 

Figure 5: West Ward Works: https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.montagu-evans.co.uk%2Fwp-content%2Fuploads%2F2021%2F01%2FWest-Ward-Works-PAC-Presentation-Boards-1.pdf&psig=AOvVaw36Fg5s4bYZaHl204HAOsI8&ust=1673889457385000&source=images&cd=vfe&ved=0CA8QjRxqFwoTCJDJ6qWKyvwCFQAAAAAdAAAAABAE

Figure 6: Verdant works: https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.dundee.com%2Factivity%2Fverdant-works-scotlands-jute-museum&psig=AOvVaw1MStR827XlAa62W5RCcOXZ&ust=1673889482568000&source=images&cd=vfe&ved=0CA8QjRxqFwoTCJC_87GKyvwCFQAAAAAdAAAAABAE

The next two locations for the film will be in close proximity to one another.  The first scenario, at Verdant Works, will feature the protagonist coming across a wall at Verdant Works on Miln Street.  He will check his pockets to find he has no money for a ticket in, but upon observing the wall, can see a vision of jute being processed, along with more double discs, which confuses him.  He will then proceed to West Ward Works at Guthrie Street, wondrously observe the building and will peer into a wall to see a vision of a newspaper printing machine in operation with double discs.  He will be intrigued by this.

5.Commercial Street/Caird Hall

Figure 7: Commercial Street: https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.primelocation.com%2Fto-rent%2Fcommercial%2Fproperty%2Fdundee%2Fcommercial-street%2F&psig=AOvVaw3z8CG1hAdS8jSB6Sc2A6jP&ust=1673889537518000&source=images&cd=vfe&ved=0CA8QjRxqFwoTCLjZh8yKyvwCFQAAAAAdAAAAABAE

The final scene in the city areas of the city will be focused around Caird Hall and Commercial Street.  The protagonist will bypass Caird Hall with a vision accompanying the shot, and then walk towards Commercial Street to look down Murraygate.  He will then see a vision of a Pictish beast flying in between the sets of buildings, which will lastly fly straight in front of the camera for a jump-scare effect.  This will frighten the protagonist and then he will run off in intimidation.

6.Cox's Stack

Figure 8: Cox's Stack: https://www.dundee.com/activity/coxs-stack

Upon arriving at Cox's Stack, the protagonist will gaze up at it's impressive height and scale.  Upon closer observation, he will then see a vision of a stem of jute growing up the brickwork.  He will be delighted by this indication of what the chimney will represent.

7.Dundee Law

Figure 9: Dundee Law: https://www.tripadvisor.co.uk/Attraction_Review-g186518-d2420125-Reviews-The_Dundee_Law-Dundee_Scotland.html

The opening shot of the sequence at Dundee Law will open with a shot overlooking the bridge, the Tay and the city centre, and will then zoom out to focus on an over-shoulder view of the protagonist overlooking the Dundee Law.  He will then glance up at the Dundee Law monument to observe it, and will then encounter an unpleasant odour.  He will then look down at the ground to be shocked with a vision of lava covering the ground.  This horrifies him and he quickly leaves.  

8.Camperdown

Figure 10: Camperdown Park: https://sobt.co.uk/camperdown-country-park/

The final scene of the film will take place near the entrance to Camperdown park.  The camera will glance at some trees, and will then focus on the protagonist looking over his pair of glasses to find resemblance of the double discs.  He will then glance at the trees beside him to see visions of Pictish deer walking through them, and then a vision of double discs will accompany them.  He will be annoyed by this, as the meaning of the symbol confounds him.  Then he will see another Pictish vision resembling a figure carved into the stones near Kirriemuir.  This figure will extend a hand towards him.  The protagonist will finally realize that the double discs are a symbol of unity, and will join hands with the figure.

Conservative filming day itinerary (an optimistic estimate of a perfect filming day)

• 9am: Arrive at student flat to pick up cameraman and equipment, and head to Tay Bridge memorial.
• 9:15am: Arrive at Tay Bridge memorial, cross roundabout and filming opening scene with camera shots and a drone shot for the title card. 
• 10am: Leave Tay Bridge memorial and proceed to Tay Riverside/Lookout point.
• 10:15am: Film riverside shots.
• 11am: Leave riverside and proceed to Station
• 11:10am: Begin filming at station
• 11:40am: Leave station for Verdant Works/West Ward Works
• 11:50am: Film sequences at West Ward Works/Verdant Works
• 12:30pm: Leave for city centre 
• 12:45pm: Arrive at city centre and proceed to film sequence at Caird Hall and Commercial Street
• 13:30pm: Leave city centre and proceed to Cox's Stack
• 13:45pm: Arrive at Cox's Stack
• 13:50pm: Stop for lunch/coffee
• 14:20pm: Film sequence at Cox's stack
• 14:50pm: Leave Cox's stack for Dundee Law
• 3pm: Arrive at Dundee Law to film sequence
• 3:30pm: Leave Dundee Law for Camperdown
• 3:45pm: Arrive at Camperdown for filming of final scene
• 4:30pm: Finish filming and upload footage to laptop
• 4:50pm: Head to Camperdown leisure park for short wrap party
• 5:30pm: Return to student flat to drop off equipment ready for return
• 5:50pm: Take cameraman to work and take car back to Kirrie

Parking locations (in chronological order)

• Tay Bridge Kiosk
• City Quay
• Dundee Station
• Student Flat
• Ward Road
• Eastwell Road
• Dundee Law
• Camperdown park

Animation references: Deer

 Animation References: Reindeer                                                                                                                        11/01/23

Figure 1: Pictish deer carving: https://www.google.com/url?sa=i&url=https%3A%2F%2Fhatchburnandcarve.wordpress.com%2Ftag%2Fpictish-stag%2F&psig=AOvVaw2P4_XXxQq9nqISdOEDwYml&ust=1673530034480000&source=images&cd=vfe&ved=0CA8QjRxqFwoTCOiP3avPv_wCFQAAAAAdAAAAABAT

One of the final animated characters to appear in my final project film, Seoras, will be a deer recreated in the Pictish art style.  The deer will be animated in the traditional walk cycle method as opposed to the rotoscoped method I have chosen for some of the other animated figures. I have chosen the deer because of their population in the areas near Angus and because of their cultural prominence in local wildlife.  The plan for the animation is to have a simple figure appear in trees in Camperdown park and then have the trees act as windows where the figures move from one side of the bark to another, similar to having lights pass through like a train in a tunnel.  Despite the fact that the animal is responsible for at least 100 human fatalities every year, they have an element of majesty to them that makes them a wide attraction for hikers and mountaineers. In terms of inspiration for the character, I have mainly been inspired by my many walks and cycles through the country roads around Kirriemuir.  However, if I can pick some references to base my character on, the main influences I can find in popular culture include Sven from Frozen (2013) and Bambi.

"The more I see of deer, the more I admire them as mountaineers. They make their way into the heart of the roughest solitudes with smooth reserve of strength, through dense belts of brush and forest encumbered with fallen trees and boulder piles, across canons, roaring streams, and snow-fields, ever showing forth beauty and courage." - John Muir

 

Figure 2: Sven from Frozen (2013): https://hero.fandom.com/wiki/Sven_(Frozen)

Sven is one of several main protagonists in Frozen (2013), and is the animal companion of Kristoff, the secondary protagonist of the film.  He is voiced by Frank Welker in the short animated series "Olaf Presents".   Whilst his official species is a large tan caribou, this is a member of the deer family, and has a similar walk pattern to the traditional deer in Scotland, which is the main influence for my deer.  He is first seen in the opening song of the film, with Kristoff, alongside the ice cutters, who are carrying their assets back to the kingdom of Arendelle.  They are later discovered by a clan of rock trolls, and one of them decides to informally adopt the pair.  Sven is presented to be a very loyal and trustworthy character throughout the narrative, never leaving his human companion's side and assisting with the perils the characters encounter.  In terms of movement and body language, Sven is presented to be a light-hearted and comedic creation, like a unison pet to Kristoff, with exaggerated cartoon movements during the appropriate times such as after Kristoff gets kicked out of the Trading Post.  During the more intensive scenarios, such as the chase against the wolf pack and the rush back to Arendelle, Sven is presented to move in a more realistic fashion, with life-like runcycles.  Whilst my character will move much more gracefully and realistically than this, had the character been moving more quickly or intensely, I would have considered this a more prominent influence.

Figure 3: Sven best moments: https://www.youtube.com/watch?v=VqvHvwi32pk

Figure 4: Bambi: https://disney.fandom.com/wiki/Bambi_(character)

Figure 5: Adult Bambi: https://pachirapong.fandom.com/wiki/Adult_Bambi

Another prominent influence of deer in pop culture from the Walt Disney Company is the character of Bambi, from the film first released in 1942.  The film takes place in the environment of the North American forestry, where the main character meets a Skunk named Flower and a rabbit named Thumper and also learns about the dangers of the intruding humans, most notably the hunters who kill his mother. As the character matures, Bambi discovers the tragedy in the everyday world in addition to the beauty.   Whilst the character has a rather exaggerated head with enlarged eyes and a head shape not resembling reality, the actual body of the character is drawn to resemble a real-life deer fairly closely with realistic bone structure and a believable torso.   When the character moves, the movement and animation is more resembling of real deer, as well as when the character rests with the legs tucked in to conserve warmth.  The colour scheme of the character is also meant to resemble the fur quality of real deer.  My character in the film is meant to have a pattern resembling the Pictish interpretation of deer so this will be less life-like than Bambi, but I will aim to have a more abstract vision of the deer despite the relatively smooth animation cycle I have chosen.

Figure 6: Royalty free footage of deer: https://www.youtube.com/watch?v=wvifQrvdcuk

Figure 7: Bambi's mother's death: https://www.youtube.com/watch?v=7sCqMEkgLIw

Lee, J. and Vecho, D.P. (2013) Frozen [DVD]. United States: Walt Disney Studios Motion Pictures.

Bambi [VHS] (1942). United States: Buena Vista.