Thursday, 21 May 2015

Production Report

My Final Major Signature Project was based on Norse mythology. I decided to recreate the worlds of the World Tree Yggdrasil. I wanted to depict the worlds using the art of shadow puppetry. 

The worlds would be recreated with the help of a light box. Here are some basic drawings of the framing I wanted.



For the assistant animator component of the Final Major Signature Project, I worked with two second year students. Laura Durrant helped with the character design, whilst Adam Scarisbrick created a story board.

These were some quick sketches I did so I could make a start on the puppet, but I knew I needed more in depth character designs.


Laura knew what I wanted better than I did! I already had an idea of what I wanted but I needed character designs. These particular designs were to get some ideas flowing; i,e what body type, height etc I wanted.

I had already made Odin's head at this point, so we took it from there. Laura made three basic designs in various styles. There were elements of each design I liked; although I didn't want Odin to be depicted as a warrior.


After meeting up with Laura we discussed the designs and what elements I did and didn't want. Laura was very enthusiastic about the meeting and was eager to get to work on the new designs.

Laura came back with the new designs very quickly and I was impressed with what I received.



 

The final puppet:





Adam made a story board for me. I sent him the script/shooting script and left him to work. I did have to chase him for updates but he did the work without me having to bug him a lot.

The script is in bold. The shooting script is in italics.

Odin & The Creation

Scene: Clouds fade away. Odin is sat in his throne, face on to the camera. A raven is on each side of the throne. Wide and low shot.

Narrator: Humble greetings, traveller. I am Odin. The Allfather, creator and ruler of Asgard. I am glad you came, I wish to tell you of the realms you will soon enter.

Scene: Odin stands up from his throne and walks over to a parchment on the left hand side of the throne. On the parchment is Yggdrasil [Ig-druh-sill]. He points to the top on the tree. Fades to shadow scene of the tree. Shadow scene of the tree is there for a few seconds.

Narrator: We, The Aesir [Ay-sir] live in Asgard. Asgard is located at the top of Yggdrasil [Ig-druh-sill], tree of life.

Scene: Shot of Asgard – hills, grey castle like building, clouds, tree to the left side. Shadow puppets, bright earthy colours - ink background.

Narrator: The Vanir [Van-eer] live in Vanaheim. This world is below Asgard. The Vanir are also Gods, much like the Aesir.

Scene: Shot of Vanaheim – Crumbling building, rocky mountains. Shadow puppets, dull earthy colours - ink background.

Narrator: Alfheim is where the Light Elves reside. These elves are as beautiful as the sun and shine brighter than the day.

Scene: Shot of Alfheim – Two elves pictured, one is sat on a small hill and the other is dancing. Shadow puppets, Pinks, yellows, orange - ink background. [Different lighting?]

Narrator: In the realm of Nidavellir, the dark dwarfs dwell.

Scene: Shot of Nidavellir – Two/three elves, working/mining. Underground, jagged walls. Dark earthy colours, red, brown, black - ink background.

Narrator: Ah, Midgard. The Mortal realm. This is where I placed the humans. One of my best creations I would say.

Scene: Shot of Midgard – tree is pictured again, high grass, house in background, two humans interacting. Shadow puppets, greens, blues and browns - ink background.

Narrator: Jotunheim [Yout-en-hame]. This is where I placed our not so beloved Giants. The world is cold and icy, much like their hearts.

Scene: Shot of Jotunheim – cold colours, icy environment. Giant’s feet walk from right to left. Shadow puppets, blue ink background.

Narrator: Svartalfheim [Svart-alf-hame] is where the Dark Faeries live. They abide underground.

Scene: Shot of Svartalfheim – Faerie flutters across from left to right. Shadow puppets, dark reds and oranges - ink background.

Narrator: This is Nilfhiem [nil-elf-hame]. Not a lot happens in this realm, nor does any being reside here. Nilfhiem is the ancient land of fog, ice and darkness.

Scene: Shot of Nilfhiem – Dark blues and icy mountains. No figures – ice falls from the top of the mountain. Ink background. [Create fog?]

Narrator: In a part of Nilfhiem where only the dead venture, is Helhiem. It is home of the Goddess Hel. The deeds you did, or did not commit when you were alive do not matter here. You go to Hel when you fade from the mortal realm.

Scene: Shot of Helheim. Hel is stood to the left. One/two skeletons walk into Helheim. Hel greets people. Shadow puppets. Reds, orange, yellow– Ink background.

Narrator: Finally, Muspelheim [moos-pell-heim] is located at the bottom of Yggdrasil; this is where fire first burst into the worlds.

Scene: Shot of Muspelheim, dark reds, oranges, yellow and black to be used. Fire silhouette flickers behind rocks. [Possible lava?]

Scene: Cuts back to Odin. Mid close up shot. He is stood by the parchment, looks at it for a moment. Looks to the camera.

Narrator: These worlds were created by my fair hands, but Ragnarok will be upon us one day; and these realms will be no more. Be careful on your journey, my friend.


This was the storyboard he came back with. The sent me the frames and I turned it in to an animatic as well.

Animatic: https://vimeo.com/121276466





Originally the backgrounds were going to be created using ink and paint, but it wasn't giving me the desired look. I opted to experiment with the lighting instead.




The scale that I needed for a set was quite large, so when I started  animating I decided that I would blue screen Odin's scene, although in hindsight I wish I had took the time to make a set. 

Although the story and the script differ slightly from the original, they were changed whilst filming to fit in better with the themes and timing.

For the introduction I edited each frame in photoshop, as I was not happy with the colouration. The editing gave it a much smoother look.



Final film: https://vimeo.com/128537374




External Brief


Staffordshire Dog was a small project based on the ceramic industry surrounding Stoke on Trent and The Potteries. The project was simple – incorporate a ceramic design from one of the many ceramic factories in the area with a dog, or using the famous “Staffordshire Dog” (ornament). I collaborated with Tracy for this, I edited and animated whilst Tracy made the puppets. This took 10 hours in total.

Staffordshire Dog: https://vimeo.com/119061396



I put an idea forward for the Home Front poetry commission - The Lost Brave. My idea was to use pastel chalks in a very abstract way to depict certain images and words; although my final idea wasn’t chosen, the animatic I had made for the presentation took around 4 -5 hours to draw and edit.



For Stoke Your Fires I edited one of two showreels and also volunteered for the event. The showreel was edited over two days. The total hours for Stoke Your Fires would have been around 20.

Full Secs: Animade. I have animated two Full Secs entries; “I’ve taken a Viking to you” and “A Cup of Tea”. Both of these were relatively easy to animate and edit. They took less than 10 hours each. 

Cup of Tea: https://vimeo.com/124929060
Viking: https://vimeo.com/128538692

For the last part of my external brief I participated in Crazy Horse – 48 hour jam. Before flying to Germany, I made the basic structure of the carousel so it could be erected on the day of the competition. 

The preparation time prior to the competition is hard to say, as Travis and I met many times to discuss it. Although I would say it would have been between 20 -30 hours. 

The picture below shows the layout and measurements we went for. There were 6 pieces of K&S tubing which we used to mount the horses on




Travis designed and constructed the walk cycles. Each cycle consisted of 12 horses - sticking to an even number made things a lot easier to animate.



The room we were provided with did not suit our specific needs as stop motion animators. The competition is mainly aimed at computer 2D or 3D animators; so this was a slight problem from the start. We requested to be moved into a darker room – our request was granted and we worked in the buildings cinema room for most of the duration of the competition.

Sadly this was the only photo I took of the workspace we had, it didn't even cross my mind to take many photos whilst animating!




Although the room we were given was a good location for animating, the lighting was terrible. The lights I had bought with me for animating were also too yellow. We also had problems with the software. I had downloaded a trial of Dragon Frame - which unknowingly the logo is imprinted on each frame. It also limited us to only 50 frames a shot. This wasn’t ideal, so we made the choice to “shoot blind”.




The final result was a little jittery, but for the facilities we had I feel that we made it the best we could. In hindsight there is a lot I would change about the process, but it was a great experience. The competition itself lasted 48 hours, making up the remainder of my external brief hours. 




Crazy Horse: https://vimeo.com/128542331

Sunday, 19 April 2015

Finalising Things

So after a lazy Easter break its time to get back to work. After pondering for a while, I feel that the script is missing something. When I received the voice recordings, I was happy with the quality of the work but I feel that when my words are spoken, they lack a certain something that would grip the viewer.

I feel that the script needs to take a more "darker" approach to the story telling. At the moment it feels too upbeat as the audience for the film has changed. It was originally aimed at children.

I have filmed my first scene, but after some feedback I am not sure if I am happy with it. The framing and lighting is fine, but I'm not sure if the animation is too stiff. For now I will leave it and if I have time I may re-shoot it. As it doesn't have sound and is just the first edit, I may be over reacting a bit. We are our own worst critic! 

I have finally finished Odin, although his set and throne are yet to be completed. I also need to make his two pet ravens. He isn't exactly how I imagined but I am happy with him.


Tuesday, 24 March 2015

Ink Up!


So over the past few days I have been experimenting with ink and water colours. These are for my backgrounds. As of yet I am not sure whether I will have the backgrounds green-screened in or that I will just animate straight onto the backgrounds; if I animate onto the backgrounds, I won't be able to use the plastic back that is already on the light box. It is too thick for the effect I am after, so I think substituting it tracing paper would be the best option.

I'm trying to work to limited colour palettes, but I don't want the worlds to look too similar to one another. The story hasn't changed, but I feel with the changes it would flow a little better. To try and avoid the animation from being "episodic", there will now be a scene in between each world that will (hopefully) connect them all to the life tree Yggdrasil. The idea is to have a brach that sprouts up and then blooms with a flower or a fruit. Each one will be a different colour to represent a specific realm of Yggdrasil. 

Here are a few examples of the experiments so far. These particular ones are the ones that I am most likely to use in my final film.





These two I am not so sure on, I feel that compared to the rest it is a little too detailed. I would also edit the building out on the second one, it doesn't really fit the setting.



The next few examples are ones I probably won't use.



The next few were just experimentations with colour palettes and materials. In these ones I have used ink, chalk dustings, oil and acrylic paint.




















Wednesday, 18 March 2015

External Brief... Thus Far

OK! So this is the third time I have started this blog post... third time lucky. In this post I will document my external brief hours, adding to it when needed. 

Staffordshire Dog Project

Total hours: 10

What is included in these hours? 

Animating and editing.



Stoke Your Fires

Total Hours: 20

What is included in these hours?

Preparation, editing one of the festival showreels and volunteering at the festival.

Stuttgart Festival Of Animated Film

Hours so far: 10

What is included in these hours?

Preparation and ideas.


Full Secs

Hours so far: 10

What is included in these hours?

Animation and editing.