Going Live Update 04/2/23

 Going Live Update                                                                                                                                            04/2/23

Figure 1: Map of oz: https://oz.fandom.com/wiki/The_Marvelous_Map_of_Oz

Following on from our second meeting with Wild Child on our Going Live project, we've moved onto refining the characters and making them into one or potentially two grayscale models with a 180-degree turnaround.  They also told us to narrow down the age demographic we're targeting from four to seven years old so that the designs can be simpler and the plots can be more concentrated as if they're being made for five-minute segments. As part of my role for concept artistry on props and assets, I've been assigned to create a map of Munchkinland, which we've chosen as our background location for the project, with a realistic layout for the modellers to create an environment with tastefully placed assets and props.  The basis the tutor suggested for the map included a range of theme park maps including Disney World, Gulliver's Theme Parks, Alton Towers etc.  The references for the children's programming they suggested included Toyland from Noddy, the Munchkinland set from "The Wizard of Oz" (1939) and the environments from Aardman's Timmy Time.  The project will be animated on Maya due to its accessibility within the college and the utilization of the software by Wild Child.

Figure 1: Initial Munchkinland map

This is the first draft map I've designed for Munchkinland, inspired by a backdrop created by TheatreWorld, which makes projections for stage shows.  I chose this because of its colourful, child-friendly aesthetic and colour scheme.  The backdrop also appears to be inspired by the Wizard of Oz theatre production.  My Munchkinland map attempts to recreate this environment without plagiarising it completely, with the red and yellow swirl remaining the centrepiece and surrounded by the hills in the back, a large pond with bridge in the foreground and a series of stairwells.  For the hills, I attempted to do an effect similar to the terrain indicators on Google Maps with grey shading to indicate slopes and higher altitudes.  Whilst my first version is suitably colourful, it needs something more saturated and vivid to capture the attention of the intended audience.  I think creating the next draft on Illustrator might yield more fruitful results.

Figure 3: Munchkinland backdrop: https://www.theatreworldbackdrops.com/backdrops/munchkinland-007-00360

Figure 4: Munchkinland moodboard

 

Final project update

 Final project update                                                                                                                                       01/2/23

Figure 1: Camperdown deer test

This is my first test of encorporating my TV Paint animation into my live-action footage that I've shot so far.  The next objective for Advanced Production according to the tutor is to make a very rough cut of my final film, like an animatic, with the footage I have available.  This will ensure that the narrative will work before we commence to full-on post production.  It's been confirmed that the footage for the whale flying over the Tay will need a retake with a tracking shot for more dynamic videography and something for 3D Camera Tracker in After Effects to work with.  The initial shot was too indistinctive to be interesting enough.

The process involved in the production for the deer is obviously first colour-correcting the footage, then importing the animation, applying an invert filter, and then setting the blending mode to screen or lighten.  I then added the correct movement to the animated figure and then drew masks over the trees in the footage to simulate the characters moving in and out, as if the trees are meant to resemble windows.  I tried to use a similar feature in TV Paint to invert the character, but this rendered the character completely invisible.  The animation did require extending and increasing the speed in an attempt to make the movement plausible, and I also applied some 3D to the animation to make it appear at the right place in the shot.  This will need to be put before a tutor for feedback.

Figure 2: Jute animation test

The animation for the shot at Cox's Stack was slightly easier to pull off.  I had the original animation test that I shared online as a spare copy.  I imported the live-action footage and the animation, applied the necessary invert filter and a mask and set the blending mode to screen in order to blend the footage in.  I also had to use a 3D to make the animation tilt the right way and look integral.  Both of the animations submitted so far we are animated on twos in order to add a layer of disconnection from reality and to highlight that this was my own perspective.  I have attached a screen recording of the composition process to highlight the whole process.

Figure 3: After Effects Screen recording

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)