ANI230: Progress Journal Week 2

Hello everyone, I’m back with the 2.0 patch of my progress journal, which was last week. Last week was more interesting than week one, as my understanding of how Toggl worked grew. I had 31 and a half hours recorded for Studio 3. As this is a blog for Studio 3, I shan’t be talking about the time spent on my final project.

Toggl Week 2

In these 31.5 hours I finished off the Author and Source material research that I needed for the World Builder project. It was a lot of just finishing looking over the book, and finding out what themes the book had.

themesandsymbolism

Some of these things, I already knew, but it was fun to discover all the others that I hadn’t noticed before.

I also started and completed my first set of thumbnails for World Builders.

WB_Thumbnails_Rebekah

I talk about my thumbnails for a paragraph in my shot deconstuction, and as I mentioned there, my scene for World Builder is the beginning of chapter 7 in ‘The Horse and His Boy’, which focuses on the point of view of Aravis, the main female protagonist. I was trying to imagine the different ways that the scene could be framed. While I also found out that I can’t draw horses, I also discovered that some angles didn’t encaptulate my vision for this scene. However I do suppose that these are only thumbnails, and have much work to be done on them.

Other than my Shot Deconstructio, I made a rough version of my team’s storyboard.

WB_Storyboard_Pass1.png

There was a general agreement between myself and my teammate that we would both like to add a second, smaller and shorter, scene to the ends of each of our shots if we have time, that gives a little more story and helps everything lead into each other.

That is all I have to share, I truly hope that I have more to share at the end of this week. And I do hope that I remember to record all my time down with Toggl.

Until next time!

~Icetail~

Advertisements

ANI230: Shot Deconstruction

Hello all, and welcome back to my blog, and today I am deconstucting a shot from a movie so that I can use the knowledge gained for my World Builder project that is my main assessment for this trimester in Studio 3.

The film this shot is from is “The Chronicles of Narnia: The Lion, The Witch and The Wardrobe”, produced by Disney in 2005, and is a fantasy film. It follows the story of the Pevensie siblings as they find their to Narnia and their adventure, where they met Aslan the Lion and fought the White Witch, eventually becoming Kings and Queens of Narnia. The scene I have chosen to deconstruct is when the White Witch gains her audience with Aslan. The Witch is carried through the camp and demands the blood of Edmund Pevensie, as he was a traitor. She however left, giving up her claim on Edmund, having recieved Aslan’s word on an alternative. The genre, fantasy, is quite prominent here, with the talking lion, the witch, creatures like minators, dwarves and ogres, and the medieval aspects.

With that out of the way, lets get down to deconstructing this. This was a really hard scene to find, so I apologise for the video quality.

Almost immediately we can see the White Witch, being paraded through the army camp, being watched on both sides by the Narnians, who are crowded in two coloums on either side of the path. The atmosphere is created through the forebodeing music, tense expressions and disgruntled background chatter. The viewer’s attention is drawn towards the White Witch as her entourage brings her foward.

attention lines

The stark contrast between the White Witch and the blacks, browns and reds around her also draws attention to her, as she is the odd one out. Even at a different camera angle, the White Witch is still the most contrasting character in the scene, standing out amongst the earthy colours. It is important for the White Witch to stand out in this scene, as she is in her enemy’s camp, to talk with Aslan. In the whole scene, Aslan and the White Witch are the most unique characters. The main characters, the Pevensie siblings have been made to stand out slightly less in this scene too, wearing outfits that fit in more with the surrounding army.

The depth in the shot is well laid out, with Aslan in the foreground, alone, with nothing else cluttering his space, the White Witch approaching in the midground, and her contrasting colour making her stand out from the soldiers surrounding her, and then the background that doesn’t steal attention from the main focus of the shot. This allows attention to remain on Aslan and the Witch while they converse.

Colour in this scene is utilised well, the Narnians are earthy browns and blacks, keeping them comfortably placed in the scene, the White Witch is stark white against this, to show that she doesn’t fit there, that she is the enemy. The colours in this scene are also used to mute out the characters who aren’t important in the shot, and bring out the characters who are. The Narnian soldiers and the White Witch’s servants are all darker colours, while Aslan is golden brown, and, to say it again, the White Witch is dressed in white, giving the two precedence in the scene.

The light in this scene falls naturally on everyone, which prevents unnatural shadows from falling in odd places, giving more to the illusion of Narnia being a real place. The tents take advantage of the space, and are placed to create a convincing medieval style warcamp.

Now how do I bring this knowledge into my own shot? The book that my partner and I agreed on for the World Builder assessment was “The Horse and His Boy” by C.S. Lewis, the third book chronologically in “The Chronicles of Narnia”. Below I have the first pass of thumbnails created for my scene.

WB_Thumbnails_Rebekah

My main focus is the streets of Tashbaan, where Aravis, the female protagonist, discovers her old friend, and from her friend, discovers her father, whom Aravis ran away from, is in Tashbaan too. I want the focus to be on Aravis’ friend with Aravis staring on. To bring this focus more to the friend, I need to bring in more leading lines directing towards the carry litter. I also plan on giving both Aravis and her friend outfits that show their position in society, being daughters of nobles, while also fitting in with the setting of the city, being in an Ancient Persian kind of theme.

Thanks for reading this post.

~Icetail~

Reference
IMDb. The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005). IMDb. http://www.imdb.com/title/tt0363771/?ref_=ttfc_fc_tt
The white witch bows before Aslan-Chronicles of Narnia. (2011). YouTube. https://www.youtube.com/watch?v=zgl4tqw2OKs
Lewis, C. (1980). The Lion, The Witch and The Wardrobe. London: HarperCollins.
McDonald, J. Medieval Warfare. Medievalwarfare.info. http://www.medievalwarfare.info/
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005) Bloopers & Gag Reel. (2015). YouTube. https://www.youtube.com/watch?v=WBJ7hMVkDLo

Meet the Team Project: Animation Research

In the first week of this trimester at SAE, in my Studio 2 class, we were told that our main assignment was to be a Meet the Team video that was to introduce new characters into am existing franchise. We were split into teams based on whether we had chosen to do 2D or 3D animation, and then we decided on a franchise to create these original characters for. My team elected the cartoon “Samurai Jack” as our franchise.

This blog post has been made to discuss how I am to be going about animating the shots I’ve been assigned, however to do that, I should first show and explain my character.

Samurai Jack MTT character model sheet FIXED

This is my character, she is an ice mage. Of our characters, she actually has the shortest screen time. In the video she will be the apparent villain. And though I have designed four different views, she will only ever be seen from front on.

One of the requirements of the brief is that we rig our characters so the group had to then research 2D rigging, or puppet animation. That required to break my character a bit, so that she could be rigged. Here is her sprite model sheet.

Samurai Jack MTT ice mage sprite sheet

Now she can be rigged. Currently, she is rigged in accordance to Robin Fuller’s video on puppet rigging, using the second technique mentioned; parenting.

It works for me, and is easy enough to use, and makes the most sense. The set up is easy to. At least, in my opinion, it is so. It does everything I need it to do for this animation. It most likely wouldn’t be the technique I would use if I had more scenes to do with my character, or if I needed to animate some more complex movements, however, and there are more efficient ways of setting up a 2D character rig. Like the Duik tool add on for Adobe After Effects, which contains many advanced tools to make for easy animating.

However, for this project, I shall just stick with my parent rigging, where I have attached all the pieces of my ice mage, in a hierachy, starting from the torso, working outwards to her hands.

Here we have some of my reference images of my own hand in the position that I was drawing my casting hand in. Twenty photos and two videos got me the movement and poses that I needed, to have the ice mage casing magic. I can’t embed my own video’s to my blog post however, so I can’t show you the video reference.

Another piece of reference I used, was Khadgar, from Warcraft, in the Warcraft movie, when the main characters have their first altercation with the Orcs.

khadgar-as-seen-in-the-warcraft-movie

Now that’s magic. It is a good example of the hand movements in casting, although with magic, it’s hard to come up with an exact casting stance, since it would rely on the character’s personality and the situation that which they are in.

And now that all of that has been adressed, I’d like to leave off here by sharing some of my thumbnails for a few of my shots that I will be animating. The order is up down, left to right.

MTT Thumbs

I didn’t feel like drawing the mage again, so I took her model sheet and reconstructed her in each frame. With the arrows, I think I’m going to have to discover a better way of representing the movement through the air.

Well that’s all I have to say on this. Thanks for reading! And I’ll see you all in my next post!

~Icetail~

Reference
Blackburn R. FrostieHeart on DeviantArt. DeviantArt. 2015. Available at: http://frostieheart.deviantart.com/
Duik – Rainbox. Rainboxprodcoop. Available at: https://rainboxprod.coop/en/tools/duik/
Fuller R. After Effects puppet rigging tutorial. YouTube. 2013. Available at: https://www.youtube.com/watch?v=rsuOXXEo9qI 
Jones D. Warcraft. Universal Studios, Blizzard Entertainment, Atlas Entertainment, Legendary Entertainment; 2016