Daryl-Rhys Taylor's Short Film Journal

Big Thank you

2009-06-19T02:35:00.000-07:00

Well we have come to the end. I can't believe it. The project nobody thought could be finished is finished on time. We still can do some more to perfect the film for degree show, and we have to start thinking about what festivals to take the film to, but we finished it. We had some tears during the making of this film, but I hope we had some laughs too.

Firstly I would just like to say a big thank you to the teachers Mike Smith, Mike Hirsch, Kieran, Jared and Dan for all the help guiding the film.

I would like to thank the voice artists John Bell, Kim Crow and Chase Padgett for lending their talents and being understanding. Big thanks to the sound designer James Hodder for doing such an awesome job with the sound design.

I would like to thank Harvey and Mo for helping out when they didn't really need to. I would like to say thank you to my brother Lewis and Neil for helping me out with the film.

Of course a big thank you to my crew. Elisha and Harry did a great job on the background. Al and James, I know we had some problems, but thanks a bunch.

Finally I would like to say a massive thank you to Simon for being the best co-director a guy could have. Thanks pal.

All that is left to say is that I hope everyone likes the film and that we did you guys, we did it.

Shot List

2009-06-19T02:32:00.000-07:00

Here is the Shot List.

‘Insane Science Seeking with the Professor’

Shot Breakdown

Shot 1: Susie Opening
Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Body Animation: Alireza Armian
Head Animation: Daryl-Rhys Taylor and Alireza Armian
Colouring and Clean Up: Simon Butler
TV Modelled by Simon Butler
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Fat Back Bits in Gravy Can Design and Texturing: Simon Butler
Fat Back Bits in Gravy Can Animation in 2D scene: Daryl-Rhys Taylor
Fat Back Bits in Gravy 3D Animation: Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 2: Opening Intro

Intro and Logo Design, Concept and Animation: Sam Harvey
Assistant Animation: Daryl-Rhys Taylor
Compositing, Lighting, Effects and Editing: Simon Butler
Theme Music: Lewis Taylor

Shot 3: Prof Walks In
Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Harrison Ly
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Other Lights and railings modelling: Simon Butler
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 4: 2nd Year Audience 1

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Director, Cameraman, Mort, Orange Guy and Grey Guy Animation: Daryl-Rhys Taylor
Bean, Bro, Ducky, Dawg, Hat and Pidgy Design and Animation: Lewis Taylor
Baggy, Big Nose and Ted Design and Animation: Neil Pinnock
Colouring and Clean-Up: Daryl-Rhys Taylor and Elisha Watson
Compositing: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler
Shot 5: Prof’s Intro

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Trophy Animation: Daryl-Rhys Taylor
Compositing: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 6: 2nd year Audience 2

Storyboarding: Daryl-Rhys Taylor
Bean, Bro, Ducky, Dawg, Hat and Pidgy Design and Animation: Lewis Taylor
Baggy, Big Nose and Ted Design and Animation: Neil Pinnock
Colouring and Clean Up: Simon Butler
Compositing: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 7: Prof’s Intro Part 2

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Trophy Animation: Daryl-Rhys Taylor
Compositing: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 8: RAM’s Dialogue Shot

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Modelling and Rigging: Mohammed Warsame
Animation: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 9: Bacteria

Character Design: Daryl-Rhys Taylor
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Daryl-Rhys Taylor
Mort’s Mouth Painting: James Milham
Compositing: Daryl-Rhys Taylor
Lighting, Effects and Editing: Simon Butler

Shot 10: RAM’s Dialogue Shot Part 2

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Modelling and Rigging: Mohammed Warsame
Animation: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 11: Prof Realises

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Modelling and Rigging: Mohammed Warsame
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Elisha Watson
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 12: RAM Randomiser

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Modelling and Rigging: Mohammed Warsame
Animation: Daryl-Rhys Taylor
Audience Design: Lewis Taylor and Neil Pinnock
Compositing: Daryl-Rhys Taylor, Simon Butler
Lighting, Effects and Editing: Simon Butler
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler

Shot 13: Spotlight

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Spotlight Animation: Daryl-Rhys Taylor
Audience Design: Lewis Taylor and Neil Pinnock
Compositing: Daryl-Rhys Taylor
Lighting, Effects and Editing: Simon Butler
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler

Shot 14: RAM Randomiser Part 2

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Modelling and Rigging: Mohammed Warsame
Animation: Daryl-Rhys Taylor
Audience Design: Lewis Taylor and Neil Pinnock
Compositing: Daryl-Rhys Taylor, Simon Butler
Lighting, Effects and Editing: Simon Butler
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler

Shot 15: Mort in Audience

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Elisha Watson
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 16: Banana

Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Daryl-Rhys Taylor
Compositing: Daryl-Rhys Taylor, Simon Butler
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Lighting, Effects and Editing: Simon Butler

Shot 17: Rushed into Chair

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Chair Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Harrison Ly
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 18: Prof Gloves Scene

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Simon Butler
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 19: Inside of Mort’s Mouth

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Mort’s Mouth Image Painting: James Milham
Fly Animation: Daryl-Rhys Taylor
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 20: Fascinating

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Harrison Ly and Elisha Watson
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 21: 2nd year Audience 3

Storyboarding: Daryl-Rhys Taylor
Bean, Bro, Ducky, Dawg, Hat and Pidgy Design and Animation: Lewis Taylor
Baggy, Big Nose and Ted Design and Animation: Neil Pinnock
Colouring and Clean-Up: Daryl-Rhys Taylor
Compositing: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 22: Started

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Harrison Ly and Elisha Watson
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 23: Prof Pulls Tooth

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: James Milham
Colouring and Clean Up: James Milham
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 24: Mort’s Tooth Pulled

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Drawings: James Milham
Flash Animation: Daryl-Rhys Taylor
Colouring and Clean-Up: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 25: Smashing Light

Light Animation: Daryl-Rhys Taylor
Compositing: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Lighting, Effects and Editing: Simon Butler

Shot 26: Light Hit

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: James Milham
Colouring and Clean Up: James Milham
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 27: Mort’s Pain

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Drawings: James Milham
Flash Animation: Daryl-Rhys Taylor
Colouring and Clean-Up: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 28: Head Inflation

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 29: 2nd Year Audience 4

Character Design: Daryl-Rhys Taylor
Storyboarding: Daryl-Rhys Taylor
Director and Cameraman Animation: Daryl-Rhys Taylor
Bean, Bro, Ducky, Dawg, Hat and Pidgy Design and Animation: Lewis Taylor
Baggy, Big Nose and Ted Design and Animation: Neil Pinnock
Colouring and Clean-Up: Daryl-Rhys Taylor and Elisha Watson
Compositing: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 30: RAM Shocked Gets Susie

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Modelling and Rigging: Mohammed Warsame
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 31: Competent
Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Harrison Ly
Modelling and Rigging: Mohammed Warsame
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 32: RAM carries Susie

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Elisha Watson
Modelling and Rigging: Mohammed Warsame
After-effects Animation: Simon Butler
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 33: Fat Back Medical Treatment

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Body Animation: Alireza Armian
Head Animation: Daryl-Rhys Taylor and Alireza Armian
Colouring and Clean Up: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Fat Back Bits in Gravy Can Design and Texturing: Simon Butler
Fat Back Bits in Gravy Can Animation: Daryl-Rhys Taylor
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 34: 2nd Year Audience 05

Storyboarding: Daryl-Rhys Taylor
Bean, Bro, Ducky, Dawg, Hat and Pidgy Design and Animation: Lewis Taylor
Baggy, Big Nose and Ted Design and Animation: Neil Pinnock
Colouring and Clean-Up: Daryl-Rhys Taylor
Compositing: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 35: Head Deflation

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Harrison Ly
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Fat Back Bits in Gravy Can Design and Texturing: Simon Butler
Fat Back Bits in Gravy Can Animation: Daryl-Rhys Taylor
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 36: Prof’s Goodbye

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Modelling and Rigging: Mohammed Warsame
Colouring and Clean Up: Daryl-Rhys Taylor and Elisha Watson
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 37: Ending Pan Out

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Compositing: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 38: Final Credits

Intro and Logo Design, Concept and Animation: Sam Harvey
Theme Music: Lewis Taylor

Shot 39: Susie Ending

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler
Fat Back Bits in Gravy Can Design and Texturing: Simon Butler
Fat Back Bits in Gravy Can Animation: Daryl-Rhys Taylor
Compositing, Lighting, Effects and Editing: Simon Butler

The Day before Submission

2009-06-18T07:00:00.000-07:00

Ok it's the day before submission. Luckily I was going through the film creating screenshots for the shot list and I noticed some last minute mistakes.

The banana shot had the old background in it.
The Prof's Goodbye shot had the old RAM in it before I whited out the eyes and the chair was moving too much anyway.
I thought the the Prof was animating weird in the Competent shot, so I had a look again at the flash file and compared it to my drawings. I found out that Harrison had missed 6 frames and duplicated others to fill in the gap.

I fixed all these things yesterday and today so hopefully we will be able to render and the movie will be finished for submission.

New Version Film

2009-06-17T02:56:00.000-07:00

Here is the latest version of the film. It just needs to be doubled checked that everything is ok and rendered finally for submission for Friday. It still could use some cleaning up for the degree show but it's good enough for submission.

Aftereffects Tests

2009-06-17T02:46:00.001-07:00

Here are all the scenes I composited in Aftereffects. Simon helped me out a lot and did some extra lighting effects to them. Thanks Simon.

Progress Report

2009-06-13T04:38:00.000-07:00

Hi,

Here is just another post explaining what has gone on the last few days and what hopefully will be going on until the deadline of Friday. First of all, I must give full praise to the sound guy James. He has done an amazing job with the sound. In fact he did such a good job that when we look at the previous copy of the film I realised the most of my edits weren't necessary. We did go away and cut down one scene, added a puff of smoke and added a TV switching off at the end. I felt that it ended the film quite nicely. I tried to do this pan, but it was just proving to difficult to do in Aftereffects, so we decided just to cut to single shots.

Hopefully, Simon will get a finished cut of the film done by early next week and hen we can spend the rest of the week cleaning up the film.

New Version of Film

2009-06-11T08:14:00.000-07:00

Here is another version of the film. I have tried to fix some of the problems that arose in the previous version. It still needs finessing a tad.

Reference

2009-06-11T08:02:00.000-07:00

I wanted to do something very similar to this episode of Spongebob with the Fat Back Bits in Gravy Can.

I also wanted to have something similar to what Tony has done on his film.

http://worldoftheking.blogspot.com/2009/06/count-down.html.

I would also like to have the tv switching off.

6 Final Renders

2009-06-11T01:56:00.000-07:00

Here are the six final Renders.

Thoughts and impressions of the first draft of the film

2009-06-10T04:21:00.000-07:00

After reviewing the first draft with a number of people, some issues have come to light. There are the obvious ones that we were aware of, the lack of a television set, the blank part were James image was to go, the lack of sound in one part and the flickering light.

However a number of other issues have come up also. Firstly there are a lot of places where the characters are just frozen that I think needs to be cut. Other parts characters are moving a bi too slowly. When the prof runs off during the competent scene people get confused, we need a puff of smoke or something in there. We will have to do a proper reverse pan for the end and put the audience members in the shot. The teeth are just too gross for some people and I think may need to be corrected. Simon wants to change the textures in the background, so they are more cartoony. James didn't animated the prof's hand moving when he examines Mort's tooth so that will need to be corrected.

The biggest issue is that people get confused in the audience selection scene. I was hoping that with the sound effects and a proper spot light it would work, but as Simon points out their is no emotional resonance with Mort as we have not met him until this point in the film. We could cut to a shot of him before to establish him which is good filmic language, but would they do that in a studio. Simon suggests doing a pan of the audience but that might be tricky.

Images for Final Renders

2009-06-10T02:00:00.000-07:00

Here are the images for the final renders. The six scene we have chosen are

Prof Gloves, because that is our best scene
Prof's Goodbye, because of the nice composition between Prof, RAM and Mort
Head Inflation, it's just funny
Susie Ending, she's holding the can of Fat Back Bits in Gravy.
RAM Dialogue Scene, nice bit of computer animation.
The opening pan with the prof walking in, shows our environment.

P.S. Simon wanted to replace the images on the wall with drawn ones, so I drew this up.

Draft Version of Film

2009-06-09T05:26:00.000-07:00

Here is the Draft Version of the film. We have sent it to the James the sound guy. We we working till 19:00 last night to finish it. It needs some tweaking but otherwise I'm happy.

Progress Report

2009-06-08T07:36:00.000-07:00

This is just a update on production of the film. So far, after a disastrous Friday, we have been compositing a draft version of the film. I have been using aftereffects and premiere to composite draft versions of the scenes. They could use some tweaking. I have to kick James up the butt for a painting of Mort. We have to get six final renders done for Wednesday. I have been sorting out 20 + images for the degree show for Friday. After sending the first draft to James the sound guy, we have to perfect the film for the 19Th June and sort out my folders.

A Tutorial about Flash

2009-06-03T06:27:00.000-07:00

A tutorial about Flash I found on http://www.cartoonsolutions.com/store/catalog/Editing-Multiple-Frames-of-Animation-sp-77.html

Editing Multiple Frames of Animation

Successfully move, scale or alter multiple frames of animation together.Have you ever finished animating something only to decide that you need to change it's placement on the stage or size on the screen? You may have tried selecting all of the frames on that layer and moved the first frame, hoping that the remaining frames in the layer would also move with it, only to find out that you have only moved the first key frame and nothing else.
The good news is that yes, you can move all of the frames at the same time, you just need to use the "Edit Multiple Frames" feature so that Flash will understand that you want to alter more than just one frame.
Let's take a look at a sample project where we want to scale up the animation on the character layer:
Look at the onion skinning features and you'll see on the far right of them two boxes that are both colored in. This is the "Edit Multiple Frames" feature and is what you want click on to activate.

This feature operates just like the "Onion Skinning" feature. Place your timeline marker in the middle of your animated frames and pull the handles out so that they encompass all of the animation that you wish to alter.

Once the handles are pulled out in the timeline, you should be able to see all of your key frames at once on the stage.

It is important to lock any layers that you do not want to alter or change. In this case, we will lock the 'background' layer so that it doesn't accidentally get selected.

Next you have to select all of the art on the stage. You can do this by either 'selecting all' (hotkey "Control"+"A") or by dragging over all of the art with the Arrow (V) tool. DON'T FORGET THIS STEP!

With all of the art selected, we'll use the "Free Transform" tool by pressing the "Q" keyboard shortcut, and pull on the corner handles to scale all of the art up at the same time.

You can do more than just scale or move the art, you can also apply filters to all of the symbols at the same time.

In this example we will also select "Tint" from the "Properties Bar" and choose a color to tint all of the symbols at the same time.

When you are finished, simply turn off the "Edit Multiple Frames" feature by clicking on it. You have now successfully edited multiple frames of animation!

IMPORTANT NOTE:You can use the "Edit Multiple Frames" feature on more than one layer at a time! You can use it on as many layers as you like. Just remember that if there are layers that you don't want to move, either lock those layers, or temporarily turn off their visibility so that they are not included when you edit the other frames.

New Flash Videos

2009-06-03T02:30:00.000-07:00

First up is the re-trigging I animated and Harry coloured in of the Prof Walks In scene. I had to move the frame sinto the right places.

Next is the Mort's tooth scene I coloured in for James.

Next is the Head deflation scene with added Fat Back Bits with Gravy Can.

My Susie Scene with Fat Back Bits in Gravy Can

Al Scenes all coloured in.

Fat Back Bits Can in Maya

2009-06-03T02:15:00.000-07:00

Here is the can of Fat Back Bits in Gravy that Simon designed and UV textured in Maya.

Test Compostion

2009-06-01T12:39:00.000-07:00

I did a test composition of a scene in the film. I quite pleased with the illusion. I had to tweak the camera shots and the animation as I went along.

Production Schedule

2009-05-31T03:41:00.000-07:00

Production Schedule obtained from Simon's Blog.

Current Progress

2009-05-29T08:53:00.000-07:00

Well, would you like the good news or the bad news first.

The good news is that Simon and I have completed inking and colouring in the 2nd year frames. We have also done a lot of the 2D artwork for the film, such as Simon's great FatBack Bits in Gravy can (with Snubbs the pig supplied by Lewis) and extra little bits of simple animation in Flash, using Tweens.

The bad news is that Al and James have not completed the inking and colouring on their scenes. This is a great disappointment as now we have to rush covering their scenes. Simon again showed James how to do the inking, and James has promised us that he will get it done for Monday. He did at least start it today.

In other news, we have to get two images in two different sizes handed in for the 5th June and for the 12th June, 6 final film renders, 20 plus images of pr-production and production artwork and any other personal work you might want to show at the degree show. This as well as completing the film.

New Animations and Stuff

2009-05-29T08:42:00.001-07:00

Here are a couple of little things that I have done of the last few days whilst completing the inking and colouring of Lewis and Neil's Audience Frames. That is completed by the way. This here is something Simon wanted for the part of the film where R.A.M selects someone from the audience. Apparently Simon can move it and loop it in aftereffects. I tried it in Maya, it didn't work. Above by the way is a picture of a n inside of a mouth got from drhuefner_john_1.wordpress.com.

The crew felt that a 2D banana was better than a 3D banana, so I animated this.

Here is the bacteria and the fly animations for the film, tghey are both very simple.

This is the animation of when the tooth hits the light.

Tutorial up

2009-05-27T12:51:00.000-07:00

http://www.woofiles.com/dl-192940-Uo7jHp2V-TutorialFlashInking.pdf

I created a tutorial for inking in Flash if anyone needs it. I tried to list everything from how to do it, and solving potential problems.

Test of the audience

2009-05-27T02:08:00.000-07:00

Here is a test of the audience in their seats. The lighting of the background needs to be fixed and some of the characters are in the wrong colours.

Production Schedule

2009-05-26T03:40:00.000-07:00

Production Schedule obtained from Simon's Blog.

What work I have been up to.

2009-05-25T09:42:00.000-07:00

This weekend I've kept myself busy. As well as continuing to ink in the scenes in Flash, all that is left is the audience scenes and James and Al's scenes. They need to be done by next week, I also re-edited my showreel for widescreen and work on these two images for the degree show website.

One is the concept art picture, took me absolutely ages trying to get it to look right.
The other is a final composition images. I slightly blurred out Mort and the background.

Finally, since we decided that the old intro was just to eye catching, I worked on a quick new version of the logo, going from black and white into colour.

Prof Intro Coloured In

2009-05-21T03:54:00.000-07:00

The Prof Intro is finally coloured in. Inking the frames was a great idea. It hurt my hand but it took a fraction of the time to colour. Personally, I'm not entirely happy with this scene, but I had to do it in a rush and we are running out of time.

Production Schedule

2009-05-20T03:39:00.000-07:00

Production Schedule obtained from Simon's Blog.

Current progress

2009-05-20T01:39:00.000-07:00

This is just a post to tell you about the current progress.

After a heated discussion I helped Al finish his animation on time. All inking and colouring must be completed by the end of next week. Also all still artwork must be completed soon.

Lewis and Neil have completed their audience animations for inking. Simon had tried a wide variety of different lighting tests and we found that one TV, the footage straight works best. We are going to try blurring out the background.

We noticed that behind the set it is a bit bare, so we are going to model a tree and a curtain. It's a studio in a swamp so in my mind they would have built it around a big tree.

Sam did an awesome intro and credits sequence with camera pans and effects. Unfortunately, it's too awesome, it looks snazzier than the film. The credits are fine though and I still like the pan in through the letter. Simon had the idea of having the logo in Black and white on a fuzzy TV and as you go through the letter it closes up on the TV and goes to colour.

Maybe we could work something out.

That's it for now.

Production Schedule

2009-05-19T03:38:00.000-07:00

Production Schedule obtained from Simon's Blog.

Simon Compositing Test

2009-05-16T10:03:00.000-07:00

Simon has done some compositing test with the characters on the background in aftereffects. I like the idea of fading out the background a bit more like this shot from Metal Gear Solid 4.

I was also thinking maybe we should put some effects on it to make it look older, like it being shown on a crappy sixties colour television.

Good job Simon!

Progress

2009-05-15T03:12:00.000-07:00

Yesterday after a heated discussion between Al and Dan Dalli, I had to help Al with the animation. Al did have the body drawn and inbetweened he just didn't have the head. So I decided that on another piece of paper to draw the keyframes for every head turn, hair movement and lip-sync. I then gave it to Al to fill in the inbetweens. We got one and a half scenes done by the time I left at six o'clock. I left Al to it.

New Animations

2009-05-15T03:05:00.000-07:00

New Animations.

A banana

I tweaked the RAM in a panic sequence so that he takes more steps.

This is an compositing test with Susie over the background. It needs lighting and such, and I missed some white when colouring in Susie.

For some stupid reason Blogger won't let me upload the videos.

Promo Boards

2009-05-13T07:07:00.000-07:00

Here are some promo boards I photshoped up for the D&Ad Showcase.

Prof's Intro

2009-05-13T05:02:00.001-07:00

Hi, this is the Prof's Intro scene. James was supposed to do this but I had to take it over for time. Because of this lack of time as well I couldn't film any reference or line-test it before putting it into Flash. So I'm not entirely happy with it. Some of the lip-syncing doesn't work as well, but for an animation where the character essentially doesn't move their body it works quite well. I can't believe I managed to do 15 seconds in an weekend. Now to colour it.

Current Progress

2009-05-13T04:58:00.000-07:00

Hi Guys,

This is just to say what has got to be done. We are entering the fourth week of this term and time is catching up to us. We have got to get some images ready for the D&AD showcase for the 22nd May and the animation brochure for Sam. We also have to set up a website as well. Oh and we have to start looking at film festivals.

All animation must be done by Thursday, that means James and Al.

OK.

Let's finish this thing!

Maya Animations

2009-05-08T07:30:00.000-07:00

I finally put R.A.M in the environment. Thanks Mo for figuring out the Toon Line problem.

I also animated some of the objects as well.

Flash

2009-05-07T05:32:00.000-07:00

New Flash scene coloured.

Update

2009-05-07T05:29:00.000-07:00

This is just an update to say what is going on.

Firstly, Simon, Harry, Elisha are working hard inking up the frames. Well done inking crew, keep at it.

Al has progressed with his animation. He has till Monday 11Th May to finish it.

James is struggling so I have taken the Banana speech scene off of him. James also has to get it done for next week.

Well off to animating. Bye!

2009-05-06T07:08:00.001-07:00

Here are some shots of the flash colouring in progress. Hurts your back after a while.

Shots of the background

2009-05-03T08:05:00.000-07:00

Here are some shots of the background. I've used the reference models I've built before to make sure everything is to scale and that the animation will fit. Some things, like the Dentist chair, had to be rescaled. Other things like the shelf had to be moved. I think the studio might need a roof of some sort. I've set up the cameras also.

Colour!!!!!!

2009-05-03T04:05:00.000-07:00

I've done a scene in colour in Flash. It was hard because when the files from illustrator where copied into Flash, they came through as different sizes so they all had to be re-sized and placed individually. Also, because of the pen lines, the lines change thickness. Hopefully, this will give it a Ed, Edd n Eddy feel.

Updated Animatic

2009-04-28T03:28:00.000-07:00

After having discussions with Dan and the group yesterday a difficult decision had to be made. Due to circumstances involving the delay in work, and the possible upcoming situation that I may have to cover this work, the scene with the professor's introduction has been cut down by more than half. Even though I really like this sequence and I am sad to see it go, we just can't physically animate 33 seconds for this one sequence in time. I have also added sound effects for the audience bits and the new theme song. The film might technically be longer now, but that is only because the credits are now longer.

Progress Report from Dan

2009-04-27T06:58:00.001-07:00

The group has just met with Dan. The good news is he likes my work and he thinks Simon inking is going well. Basically I just have to meet my own personal schedule and get the frames inked and scanned by next week.

The bad news is Al and James. They are really worrying me and Dan. They have got quite a lot of work to do. They have been given to Monday to get a substantial amount of their scenes done or I'm going to have to take over.

Oh I'm nervous and worried.

Progress

2009-04-26T06:07:00.001-07:00

As Simon and I discovered tracing every image again in Flash was just not practical, so we decided that it would be quicker for me to ink over every frame and use Illustrator's Live trace. That's is what I am doing now.

Elisha and Harry have finished the Background. Our second years Lewis and Neil have come up with some great character designs and Al and James are (hopefully) progressing nicely with their scenes.

Right now I am quite close to freaking out.

Current Progress

2009-04-26T06:03:00.000-07:00

Progress

2009-04-24T04:39:00.000-07:00

After exhausting tests, we have come to the realisation that tracing each frame again in Flash is just not practical. We will have to use the live-trace function in Illustrator in stead. I am therefore inking over all my finished frames carefully before I scan them in. I encourage all my other animators to do the same.

Introducing

2009-04-24T04:36:00.000-07:00

This is just to introduce are two new teammates, Lewis Taylor and Neil Pinnock. These two Second years have agreed to help out with the project. Many thanks to them. 10 seconds of animation total in length should be fine.

Research

2009-04-22T07:10:00.000-07:00

For faster speed we are using the Live Trace function to trace the drawings. It gives it a Ed, Edd n Eddy feel.

Tutorial for Illustrator

2009-04-22T06:42:00.000-07:00

http://edutechwiki.unige.ch/en/Flash_bitmap_tracing_tutorial

Tracing a bitmap with Illustrator

Step1 - Trace the bitmap

Illustrator CS3 has more sophisticated bitmaps tracing features. Here is a very short example that includes a shape tween:

Open the picture in Illustrator
Select it
Now you will have a "Live Trace button" on the control panel on top
Next to it is a little pulldown menu from which you can select various options, for a portrait you may choose "Color 16"

Live tracing with IllustratorCS3

Once you hit the trace button, the controls on top will change and you can play with all sorts tracing methods and parameters

Live tracing controls with IllustratorCS3

Step2 - Import to Flash

Copy/paste if from Illustrator with the options: Paste using AI File Importer preferences and untick maintain layers
You may adjust the size of the stage to the size of the picture somewhat, I chose to add some big margins for a reason you will see later.
Convert it to a symbol (so that you have a copy in the library)

Step 3 - Break it Apart

Then right-click->Break Apart
You have to do this several times, since illustrator produced object groups within object groups (use ctrl-Z if you think you went too far).

Step 4 - Create a new keyframe

Right-click on frame 20 and hit F6 to create a new keyframe with the same picture.

Step 5 - Distort the picture in keyframe 1

Try everything you can

Select parts and change the color with the paint bucket. That's actually the only thing I did
You also can move parts, but probably you then should start with a much simple ray trace.
Distort parts with the Selection Tool, the Subselection tool and the Free Transform tool

Step 6 - Add a shape tween between the two frames

... enjoy

Tune

You also may at the very end (after the last keyframe) insert the original jpg picture. Tracing bitmaps is a very difficult issue, since there are many kinds of algorithms you can select from.

Basically the machine must be told how to group similar pixels together into a vector objects. For example, an algorithm can group together pixels with similar brightness, similar color, or try to find lines from similar pixels.

Publish

In the HTML setting you probably want to take off the "loop" option

You can admire the result

Files: flash-cs3-shape-picture-morphing.*)

Directory: http://tecfa.unige.ch/guides/flash/ex/shape-tweening-intro/

Updated Animatic

2009-04-18T07:35:00.000-07:00

I've updated the animatic with my pencil tests and Sam's Logo. I've also tried to add more shots of the audience like Mike and Dan suggested. Timing may need to be worked out.

Theme Music

2009-04-18T06:55:00.000-07:00

Here is the theme music. I wanted this chicken-picking country feel to it. I like it. My brother Lewis wrote the music.

New Animation Tests, Drawings and Such

2009-04-16T03:19:00.000-07:00

Here are some drawings from the animation. They are still drawings that will be animated later in after effects.

Here is the Prof with the light shade on his head.
Here is the Prof looking inot the audience.

Here is the Prof shocked with lightshade on his head.

Here is Mort worried.

Mort Twang.

Mort in pain..

Mort

Fatbback Bits in gravy gloop.

Well Mike told me to put more bits of the audience in, which I hope to get some 2nd years to do. Hence these are shots to tell the 2nd years what I need. I'll put them in the animatic.

Here are the two pencil tests that I did yesterday. The first is Mort being selected from the audience. The second is Mort's head swelling up and down. These are all made up of different shots, so you will see a lot happen in these videos.

Research

2009-04-13T09:20:00.000-07:00

Here are some videos from YouTube I thought I put up for Research.

This episode of Dexter's Laboratory has a sound effect I really like.

This shows Dexter zipping around the lab is useful for research.

This I just really like.

Animation Video Tests

2009-04-08T08:29:00.000-07:00

Here are some of my recent animation tests.

This first one is a redo of the Professor's Goodbye scene. Everything is good, but the fall is too slow. It was filmed on twos, so I can either remove frames or shoot on ones.

This second one is Susie's Ending. I need to re-draw the waving sequence as I think I drew the hands wrong. Hands are tricky.

These are just two bits of Mort in the background.

These are just miscellaneous RAM animations. Mostly of him hopping around.

Sam's Test

2009-04-01T03:16:00.000-07:00

Sam did a test for the logo. I think it really works. Now to find some appropriate music to go with it.

Sam's Logo Design

2009-03-27T04:29:00.000-07:00

Sam done a great logo and is going to try a test. I say well done and I can't wait to see it.

R.A.M Dialogue Scene test

2009-03-25T04:08:00.000-07:00

A test compositing my R.A.M dialogue sequence onto the top of the computer animated background. They were different sizes so it was easier this way.

Sam Harvey's Logo designs

2009-03-23T03:51:00.000-07:00

Sam did these quick logo designs. I really like the idea of having the two fonts combined. I think the one on the bottom left really works. Thanks Sam.

Commenting on the Progress Presentation

2009-03-20T10:23:00.000-07:00

It was a bit strange today, Mike basically said

a) we should intersperse it with adverts, but it's really short.
b) involve the audience more, will be hard
c) have more dynamic camera angles, but it's a TV show.

Sam tells me that we have to get a website and definitely a title by the end of the weekend.

Research

Animaniacs

Johnathan Ross

Production Schedule

2009-03-19T04:47:00.000-07:00

Here is the new production schedule. We have to get all the backgrounds, rough animation and most of the clean up and colour done by the beginning of the summer term.

Final Animatic with sound

2009-03-18T11:08:00.000-07:00

We have the final animatic with sound. James (the sound guy) did a great job!

Animations

2009-03-18T10:54:00.001-07:00

Here are some of the animations I have been working on the last few days.

The first is a collection of short R.A.M animations, running, jumping, screaming etc.

The second is a redoing of the prof puts on gloves scene.

The third is prof's goodbye and the fourth is look at the gums sequence. Unfortunately, I was using i-movie and I couldn't figure out how to cut the audio track, so that's why you have a image over those parts of the audio.

Thanks guys.

2009-03-18T10:50:00.000-07:00

Hey guys I just want to say thanks for being s great team and getting on with the work. Thanks.

Here is a present to inspire you. It's one of my favourite cartoons when I was a kid.

Logo Research

2009-03-10T08:38:00.001-07:00

Here a some examples of titles I like. I am hoping to get a mixture between a retro fifties look and a science program.

These old Hanna-Barbera titles are great. Really iconic.

The text on the logo for the Honeymooners just screams fifties.

This looks really scientific.

Update

2009-03-09T10:49:00.000-07:00

Just an update of the things that need to be done.

1. James the sound guy needs to send us back the animatic with sound
2. James and Al, I need to see your animations
3. Al, you, Simon and I have to work on a new production schedule for next term
4. Elisha and Harry, I need to see all your work for the backgrounds.
5. Simon needs to help me colour in some frames

That way we can all get ready for the presentation. Meanwhile, I'm just going to start some other animations. OK everybody?

New Animations

2009-03-09T10:46:00.000-07:00

Here is the second drawn animation. Even though it is the shortest, it was quite tricky because the head is so large and he is tilting his head towards and away from the camera. I hope it works. Now I just have to animate the next half of this scene.

Toon Boom Test

2009-03-05T03:44:00.001-08:00

Here is just me having a quick practice with Toon Boom using the help guides Mike gave me. I will have to clean up this scene again anyway. I coloured a few frames for practice.

Quick Update

2009-03-04T07:15:00.000-08:00

Basically I just wanted to give a quick update on my progress. I just finished timing out all the dialogue for all my scenes on dope sheets. I am now just looking at my live-action reference of myself for my quick thumbnails. I'm hoping to get another scene done by the end of term. I also shot more live-action reference for some new scenes.

Silent Comedy Youtube Research

2009-03-04T04:42:00.000-08:00

I decided to do some quick YouTube research for my animation. Enjoy!

This is classic footage of the great Buster Keaton. Their are some great practical gags in here. The timing is impeccable.

Charlie Chaplin

Laurel and Hardy

Logos, Websites and Marketing

2009-03-03T03:12:00.000-08:00

I just talked to Sam and he says we need to start fundraising and designing a Logo, Website and figure out the branding and marketing. Al, I believe that's your job. Any Ideas guys?

Mike Smith gave me some pdfs files on Toon Boom. I'll give them a read.

Glen Keane Interview

2009-03-03T03:01:00.000-08:00

http://lineboil.com/2009/02/interview-with-disney-animator-glen-keane/

Line Boil has done a great interview with Glen Keane, Disney Animator extraordinaire. Listen to his pearly words of wisdom. I've put the whole interview here.

Interview With Disney Animator Glen Keane

posted by Brendan, 10.45 AM

by Brendan Burch

One of lifetime Disney animator Glen Keane’s crowning career achievements takes place late in the 1991 Disney feature film Beauty and the Beast. The Beast, having heard of Belle’s love for him, goes through a transformation…

Keane, who was honored in 2007 with the Windsor McCay Award for lifetime contribution to the field of animation, has too has undergone some transformations in his career, and also watched the industry transform as well. A gifted football player in his youth, Keane opted out of a scholarship and turned his attention to painting - and eventually animation while at Cal Arts. In his first job at Disney, Keane’s work on The Rescuers marked the transition from the era of The Nine Old Men; subsequently beginning the era of The Nine New Men. Working alongside John Lasseter, Keane helped guide one of the seminal CGI projects ever conceived - a 30-second test based on Maurice Sendak’s Where the Wild Things Are that merged 2D character animation with CG backgrounds. Along with films like Star Wars, Tron and Luxo Jr., the projected helped transition the world of animation closer to the CG landscape we now know. After his legendary work on Aladdin, Beauty and the Beast, Pocahontas and Tarzan, Keane underwent another transition - that into director. He took the director’s chair in 2003 for the CG film Rapunzel, which is due in theaters next summer. In 2008, due to non-threatening health reasons, Keane relinquished his directing duties to Byron Howard and Nathan Greno, taking instead the role of Executive Producer on the project.

Glen also helped me transform into an animator - after seeing him in The Making of ‘The Rescuers Down Under,’ I knew exactly what I wanted to do with my life.

I recently got the chance to run a few questions by Glen, and we go over the onset of the Lasseter-era at Disney, his Windsor McCay award his thoughts on passing his legacy onto the next generation.

BRENDAN BURCH: Now that you’re directing, do you miss the physical process of animating?

GLEN KEANE: Directing Rapunzel has been a great learning experience for me. However I have always seen myself as an animator at heart and have longed for the day to be back animating, living in the skin of the character I am drawing.

BRENDAN: How has the Pixar team changed the way things work at Disney?

GLEN: John Lasseter and Ed Catmull have brought with them a refreshing honesty and collaboration that is permeating the studio. They very quickly instituted a story trust made up of directors and heads of story to give honest critiques of each other’s films. To be open to this kind of feedback is both painful and liberating. Our films have made giant strides forward by this process.

BRENDAN: How has the transition from pencil to the Cintiq digital tablet gone for you?

GLEN: I have been doing my storyboards on the Cintiq tablet for Rapunzel. The first thing I noticed is how easy it is to get lost in doing very finished, rendered boards rather than exploring in quick thumbnails the many different approaches one may take to an idea. The computer seems to tempt one to commit too soon to an idea. Maybe it is just my habit but I find that I think better and more creatively on paper. So my solution is to thumbnail and explore on paper, then scan in my rough sketches into the Cintiq. I am now free to move forward knowing I’ve seen the problem from every angle.

BRENDAN: Do you have any routines for uncorking your creativity?

GLEN: Get away. That’s what I need to do when I am stuck. I go for a long walk and refresh my soul. I go to a museum to remind myself that I am an artist and need to think like one. Often the thing that can happen to someone working for a big studio like Disney, or any studio for that matter, is that you can forget why you love this art form. It can quickly become about meeting a production goal. Schedules and deadlines are important, even essential, because they create a fire and heat that seem to force you into your best ideas. However when you feel creatively empty and uninspired, the deadline mentality will say “It’s okay just let it go. So what if it’s not your best work - you’ll get another chance next time. Hand in the scene and at least you can feel good about hitting the numbers.”

I reject this voice and instead do something that feels entirely counter-intuitive. I take that seemingly all too precious time and walk out the door of the studio, hop in my car and drive to the Norton Simon Museum in Pasadena. I marvel at the Rodin sculpture at the entrance. I study the Degas pastels and figurines… I start to remember that I am an artist first and animator second.

BRENDAN: Do you plan to work on any personal projects in the future?

GLEN: I want to explore new directions that hand-drawn animation can be moving in; directions that the computer has now made possible.

BRENDAN: How do you feel your work has progressed since you started your career?

GLEN: I am more and more interested in taking my lead from discoveries and observations from real life and letting that inspire my work. Whenever I have done that, I have done my best work. Whenever I try to make my work look and feel like other animation - I fall short.

BRENDAN: Congratulations on winning the Windsor McCay award at the 2007 Annie Awards. What does this award mean to you?

GLEN: One of the most wonderful memories of that night was meeting Windsor McCay’s family. He is such a legend that to meet other McCay’s who were so approachable and genuine I was reminded that animation has always been created not by legends, but by folks just like you and me.

BRENDAN: With all of the Nine Old Men now gone, who do you look to for artistic advice or guidance in your career?

GLEN: Frederic Back has always been a great source of inspiration. I believe his work points to the future of where I hope hand drawn animation can go. Anytime I can spend with him is precious to me.

BRENDAN: For animators, do you recommend watching live-action reference video?

GLEN: Of course. When you study live action frame-by-frame, you see the “secrets” revealed as to why a movement or expression feels the way it does. I am in awe of the world and it’s creatures.

BRENDAN: When you’re animating, how much importance do you put on weight and gravity?

GLEN: If a character lacks weight in how it moves, it lacks credibility. I don’t believe it exists. It becomes just a drawing or a frame of film. As I animate, I have an inner-feel of the weight of the character that I am always very aware of with each step, twist and movement. If, as I animate, the weight of a character feels in any way untrue, all sorts of animation alarm bells sound off in my gut.

BRENDAN: You’ve left a significant mark on the animation industry over the last 30 years. What will the next 30 years look like for you?

GLEN: I want to spend it giving back to others as I have had so many give so generously to me. I want to improve as an artist and find better and more personal ways to express myself in animation.

Frank Thomas, Ollie Johnston and Eric Larsen gave so freely to me that I feel not only a debt of gratitude but also a great responsibility to hand the baton on to young animators today. I am still learning, in new ways, principals that I learned from those masters in my early twenties. I find myself saying, “Oh so that’s what Ollie was talking about. Now I get it.” Anytime I get that “now I get it” feeling, I have to find someone to pass it on to.

BRENDAN: Would you ever be open to teaching animation?

GLEN: I have always taught animation at the studio as I work side by side with other animators. At times, I give lectures outside of Disney and someday the idea of teaching animation full time may be what I choose. I’m not sure if I’m ready for that yet.

BRENDAN: You have worked at Disney throughout the majority of your career. Do you ever feel limited, having worked at only one studio?

GLEN: What one might consider as limiting (working at only Walt Disney Animation Studios) has actually been incredibly expanding for me. Because of it’s stature, Disney has attracted so many of the best artists in animation within it’s walls ever since I’ve been here. The animation world is actually a rather small family and so many animators I know at other studios have come from Disney or are going to come here. There is a constant influence from outside of our studio walls. Disney itself is ever evolving and continually re-inventing itself. The studio of today is nothing like it was in the 70’s and nothing like it will be 10 years from now.

BRENDAN: As you survey the animation industry in 2008, are we in a new golden age?

GLEN: It seems to me that a “golden age” starts with a movement to discover and learn. It worked that way when Walt turned Hyperion studios into a veritable animation university complete with animal pens to keep deer for study. The result was Snow White, Bambi and Fantasia. In the seventies, when Disney re-started its training program, there was an influx of new talent, new discoveries and wonderful new films like Little Mermaid, Beauty and the Beast and Lion King. Branching out from Disney, there are the films of John Lasseter, Brad Bird and Tim Burton.

We need to be stretching out and learning, discovering, trying new things. We cannot rest on where we are. There is always a stronger, more convincing, more personal and expressive way to tell our stories and to animate our characters. If we do that then we can move into another “golden age.”

Lineboil contributor Brendan Burch co-founded and runs Six Point Harness Studios in Los Angeles. Brendan also teaches part time at Cal Arts in the Experimental Animation program.

Dwarf Fight by Bill Tytla

2009-03-03T02:52:00.000-08:00

http://www.michaelspornanimation.com/splog/?p=1775

Michael Sporn Animation has posted some drawings by Bill Tytla of the Fight Scene form Snow White and the Seven Dwarfs. There fantastic.

Just a update

2009-02-27T08:55:00.000-08:00

Firstly, I would just like to say that I think the project is going well, especially considering all of the dissertation work. Everyone is posting good things on their blogs. Just a couple of things.

Firstly I would like to see everyone's work the last week of term so we can prepare for the presentation to Mike.

Secondly, over easter we need all backgrounds completed and all rough animation must be done.

If not we won't get the project completed.

Okay guys.

Let's get our dissertations over with.

Flash Coloured Practice

2009-02-27T08:37:00.000-08:00

With all the dissertation work it just feels like term just began. It was suggested to me that we use Toon Boom Studio. Simon and I tried that but couldn't make no heads or tails of it. Then we use illustrator, hopefully using the live trace tool, but that came out fuzzy with broken lines, and it's difficult to colour. I just spent the last few weeks colouring all my frames in photoshop with no luck. Finally Simon discovers that flash will do it just fine. What a colossal waste of my time! Oh well, least I know how to make the film now.

I decided that it would be useful for me to practice flash, so using the coloured frames I did, I used them to do a bit of this Mort scene in Flash. Because they were coloured in photoshop it is a bit fuzzy. Also for some reason the frame rate a bit weird. That may have happened when it compressed the quicktime video. Gotta go two weeks to dissertation deadline.

Tutorials for 2D Animation

2009-02-21T04:05:00.000-08:00

Harry sent me a link to this website that has tutorials for Digital Inking and Painting for 2D Animation. Hopefully, it can help, because I'm worried that my current method is taking too long.

http://www.expertvillage.com/video-series/8173_digital-inking-painting-2d-animation.htm

Digitizing & Inking Line Art Drawings -- powered by ExpertVillage.com

Cleaned Up drawings

2009-02-18T04:50:00.001-08:00

I've cleaned up the drawings. I am hoping to start colouring them real soon. Hopefully Simon, will help. When parts of the characters are not moving, I drew them up on layers. I think we will either colour them in Toon Boom or Illustrator.

Prof put on gloves test animation

2009-02-11T07:27:00.001-08:00

Well, here is the prof puts on gloves test animation scene. It's without the dialogue at the moment, but I hope to fix that. I noticed a couple of things I would like to change, places where it jumps. Hopefully I can see what it looks like with dialogue soon. I pretty happy with the change of expressions and the arcs.

Amendment

Here it is with the tweaks and the dialogue. Their are a few minor lip-syncing issues but overall I'm happy with it.

Brand New Completely Final Animatic

2009-02-11T07:15:00.000-08:00

Well, here it is. Finally the final version of the story. All it needs now is the music and sound effects. Hopefully our sound guy James (aka Jason) can do that for us. Actually, I think all that work paid off. It's much snappier now and it flows much better than before. Great work Smiling' Simon, for getting this done.

Report and R.A.M Animation

2009-02-09T07:58:00.000-08:00

Well, it's taken a little while but I finally finished animating both those scenes. It took longer than I thought as well, I only just finished today. I'm hopefully going to shoot the pencil test tomorrow, boy my hand hurts, but I can show you the R.A.M scene right now. I am quite pleased with these.

Changes to Script

2009-02-09T07:46:00.000-08:00

Hi,

Well Mike had a look at the film last week and had lots of nice things to say about it which is good. His one comment was he got a bit confused as to what was on camera and what was off camera. The thing is it's all on camera, the viewer is supposed to be the audience watching it at home on their TV sets, just as they actually would be. He suggested overcoming this issue by having camera men working cameras, out of focusing and slight camera shakes. He also suggested something at the start just to fully indicate to the audience, so I came up with the idea of using a movie clapper board.
Looking at the script again, I have had feelings about it. Considering that it has taken me about a week to animate one 10 second scene, I am now fretting over the length. Will we be able to get this done in time. Considering this, I have gone in with a axe and chopped out anything that is not absolutely necessary. This usually resulted in bits of lines of dialogue going, however it did result in the entire disappearance of the scene where he describes the dental tools. I'm sad to see it go but I'm really worried here. Anyway here is the new script.

Script 09/02/2009

Movie Clapper Board.

Focuses In

Susie-May: Live from the Deep South of America. Brought to you by Aunt Marcie’s (Fatback Bits in Gravy). It’s The Professor!

Camera pans back revealing studio

Audience: Clap! Clap!

Title fades in

Prof: Howdy! Welcome to the show! Woops!

Prof knocks award of shelf.

Man in audience laughs

Prof: You know I keep knocking over this award I won at university for my thesis on the advanced growth of bananas. And this got me thinking…people slip on bananas. And what’s the opposite of slipping, sticking, yes. What do people step on that’s sticky, gum, gum, chewing gum. Thinking about gum, gums, we have gums in our mouths. Which is why today’s topic is dentistry. Whilst I get ready R.A.M why don't you tell the folks at home more about teeth.

R.A.M: Glad to Prof! Teeth are loose bones held to the jaw by soft tissue known as gums. When bacteria enter the gum line it eats away causing diseases.

Bacteria: heh heh heh!

R.A.M: So that's why it is very important to brush and floss your teeth.

Prof realises he needs help from audience

Prof: R.A.M

R.A.M initiates picture generator.

Lights flash over audience.

Stops on Mort.

Mort in first row eating a banana.

Prof grabs Mort.

Mort drops banana.

Mort gets rushed into chair.

Prof: Studying at university I witnessed many dental procedures. I can’t believe I’m doing my first one. Open Wide!

Mort: Hmmmmpfff!

Prof: Look at all these gingivitis filled gums… Isn’t that fascinating! Now let's get started.

Click, Click.

Prof: Hmmm having a bit of trouble here. Maybe if I pull a little. GULP!

Mort’s Tooth pings out

Ram: GASP!

Light falls down on Professor’s head.

Mort’s head swells up!

Mort: EEEE!

R.A.M jumps down, hops over to get Susie

Prof: Don’t worry it’s all part of the procedure I’m competent

RAM brings Susie back

Susie-May: Don’t worry because Aunt Marcie’s (Fatback Bits in Gravy) is not only a tasty snack, it is also an all purpose medical treatment.

Mort’s head swells back down.

Prof: Well we have come to the end of our show see you next time science seekers.

Prof slips on banana peel.

Camera pans out over audience.

Fades to credit sequence-showing stills from other episodes.

Susie-May: This episode was brought to you by Aunt Marcie’s (Fatback Bits in Gravy). Come all back now you here!

Prof puts on Gloves keyframe animation

2009-02-04T05:59:00.000-08:00

Here is the Prof puts on gloves key frame animation. I'm really pleased with it. Funny thing is some key frames where so closed together they actually look like animation. I'm quite happy to move forward with this scene.

Tweaked R.A.M Animation

2009-02-03T07:21:00.000-08:00

Here is the tweaked animation for R.A.M's big dialogue scene. It obviously needs some more work as the computer makes it a bit floppy, but I think the lip-syncing is nice and importantly, the key poses are much better now.

I also animated the next scene where he selects someone from the audience.

Prof puts on gloves key frames

2009-02-01T09:23:00.001-08:00

Here are the key frame drawings for the "Prof puts on Gloves" Sequence. I'm hoping to try drawing in the lip-syncs soon and see what it looks like filmed.

Comments on Previous RAM post

2009-02-01T09:19:00.000-08:00

After posting my RAM key frame animation, I animated the lip-sync. The lip-syncing, I'm pleased to say, turn out well. Unfortunately, upon second viewing, R.A.M is moving a too much. I was worried because he is essentially just a head, that if I didn't move it, he would look dead. So I film reference of myself and really exaggerated the head positions. However I moved him too much and now he's jittering about like a kid on a sugar high. I'm going to have to go back and make it much more subtle.

R.A.M Keyframe animation

2009-01-31T07:13:00.000-08:00

Here's is my planned key frame animation for R.A.M. I'm going to set up the lip-syncs next.

Rough RAM Test

2009-01-28T07:08:00.000-08:00

Rough Test Showing what you can do with the R.A.M model

New Storyboards

2009-01-28T03:46:00.000-08:00

As explained we have reorganised the story to make it shorter and more concise. Here are the new boards to fill in the story. It will make more sense in the new animatic.

New Script

2009-01-28T03:43:00.000-08:00

Script 28/01/2009

Fades In

Susie-May: Live from the Deep South of America. Brought to you by the thick homemade taste of Aunt Marcie’s Fatback bits in gravy. It’s The Professor!

Audience: Clap! Clap!

Prof: Howdy! Welcome to the show!

Prof knocks award of shelf.

Man in audience laughs

Prof: You know I keep knocking over this award I won at university for my thesis on the advanced growth of bananas. And this got me thinking…people slip on bananas. And what’s the opposite of slipping, sticking, yes. What do people step on that’s sticky, gum, gum, chewing gum. Thinking about gum, gums, we have gums in our mouths. Which is why today’s topic is dentistry.

Prof: A dentist has a wide variety of tools such as drills, mirrors and of course plaque scalars. While I get ready R.A.M why don't you tell the folks at home more about teeth.

R.A.M: Glad to Prof! Teeth are loose bones held to the jaw by soft tissue known as gums. When bacteria enter the gum line it eats away causing diseases.

Bacteria: heh heh heh!

R.A.M: So that's why it is very important to brush and floss your teeth.

Prof realises needs help from audience

Prof: R.A.M

R.A.M initiates picture generator. Lights flash over audience. Stops on Mort. Mort in first row eating a banana. Prof grabs Mort. Mort drops banana.

Prof: To assist me today my good buddy Mort!

Mort: (nervous stuttering)

Prof: Studying at university I witnessed many dental procedures. Now let's get started, make sure you dig in deep. Hmmm having a bit of trouble here. Maybe if I pull a little. GULP!

Ram: GASP!

Light falls down, Mort’s head swells up!

Mort: EEEE!

R.A.M jumps down hops over to get Susie

Prof: Don’t worry it’s all part of the procedure I’m competent

RAM brings Susie back

Susie-May: Don’t worry because Aunt Marcie’s Fatback Bits in Gravy is not only a tasty snack, it is also an all purpose medical treatment.

Mort’s head swells back down.

Prof: Well we have come to the end of our show see you next time science seekers.

Prof slips on banana peel.

Camera pans out over audience. Fades to credit sequence-showing stills from other episodes.

Susie-May: This episode was brought to you by Aunt Marcie’s Fatback Bits in Gravy.
Join us next time when the professor will explain brain surgery
Come all back now you here!

Re-working Story

2009-01-28T03:40:00.000-08:00

Yesterday we had to re-work the story again. Kieron felt that it was too big and didn't make sense. So we've shortened it down and moved some scenes around. The problem is new scenes will have to be created for story sense, but I really don't want to bother the voice artists for more dialogue. I'm going to have to be clever about this. This has to be the final time, we need it stable to move into production as soon as possible.

My Scenes

2009-01-24T09:22:00.000-08:00

Here are my scenes.

1. Prof puts on Gloves.
2. R.A.M speech
3. Mort's head swells up
4. Prof's goodbye
5. Susie's ending

I've decided to do the Prof puts on Gloves scene first.

P.S. Just for laughs, I've put up the Dentist Song from Little Shop of Horrors

Progress Report

2009-01-24T09:14:00.000-08:00

Just a little note on the progress of the film.

1. Mo has finished the R.A.M model and it looks and works great. Super job. Animating with him can start right away.

2. Both John Bell and Kim Crow have e-mailed me their re-recordings. Their great and I am super-pleased. Haven't heard any reply from Chase Padgett though, but he didn't need to re-record.

The scenes were divided up and Mike Smith has suggested that we each take one scene to practice and take it right through the production process to the end. We better get to it then.

Live-Action Reference Sketches for Scenes

2009-01-21T10:01:00.000-08:00

Here is an example of the dope sheets I have been using to time out the dialogue.

These are the reference sketeches done for the professor puts on gloves scene.

Here's Mort for that scene and the ones for RAMs speech.

New Production Schedule

2009-01-20T07:17:00.000-08:00

Here's the new production schedule made by Al and Daryl. If we get all the rough animation done by the end of this term, we should be o.k.

New Production Schedule

2009-01-20T07:16:00.000-08:00

Mo Rigging R.A.M

2009-01-20T04:09:00.000-08:00

Mo has done a great job modelling R.A.M. The pictures on his blog are so cool. Unfortunately, I can't seem to open it in Maya 8.5. We've have dished up the scenes today and all the animators are going to go off and practice a scene.

Productions a Go!

2009-01-18T05:44:00.000-08:00

Okay guys. Let's start actually making this thing. Al, we need to figure out a new production schedule.

Live-action Film Reference

2009-01-18T05:15:00.000-08:00

Here's is some Live-Action Film Reference of me for the film. This was before the story change so I will have to do it again. I was going to put it up here, but I am a little bit to embarrassed. Oh, and guys, please don't put this on YouTube.

New Boards

2009-01-18T04:56:00.001-08:00

Here are the new boards that have been added to the film. I will explain. This first board is just a slight change in the dialogue for Susie's introduction.
This is the biggest change. My brother Lewis and I came up with this Jeff Goldblum Esq. rant for the Professor. It highlights the trophies, showing his intelligence, and hopefully, builds up suspense and surprise.

This is a scene added where the light falls on his head, making him look even more foolish when he states "Don't worry, I'm Competent!" Thanks James.

Moving Forward

2009-01-17T03:02:00.000-08:00

Well I re-boarded the opening and the group liked it so we are moving forward with production. Ultimately it was my decision and I feel that the film deserves a professional voice cast, who quite frankly can do an excellent Job in my opinion. I have contacted all of the voice artists, informing them of my decision. Production Ho!

Halt to Production.

2009-01-14T04:45:00.000-08:00

Well, we were full steaming off a head into production, when yesterday a huge brick wall was suddenly constructed. Kieran had a look at the film. Good news is he loved the premise. Bad news, he thinks the beginning needs to be reworked for an even bigger punch line. I'm back to the storyboards again.

Here's a video from a Royal Institution Christmas Lecture. Just to give me some inspiration.

This is a good clip because their is a live cock up but he keeps his composure. My Brother Lewis helped me come up with this great Jeff Goldblum esq speech for the Professor too.

Cartoon Physics

2009-01-08T04:41:00.000-08:00

Just for fun!

Cartoon physics
From Wikipedia, the free encyclopedia
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Cartoon physics is a joking reference to the fact that animation allows regular laws of physics to be ignored in humorous ways for dramatic effects. For example, when a cartoon character runs off a cliff, gravity has no effect until the character notices and reacts.[1]
In words attributed to Art Babbitt, an animator with the Walt Disney Studios: "Animation follows the laws of physics — unless it is funnier otherwise."
The phrase also reflects the fact that many of the most famous American animated films, particularly those from Warner Bros. and MGM studios, unconsciously developed a relatively consistent set of such "laws" that have become regularly applied in comic animation.

Specific reference to cartoon physics extends back at least to June of 1980, when an article "O'Donnell's Laws of Cartoon Motion"[2] appeared in Esquire. A version printed in 1994 by the IEEE in a journal for engineers helped spread the word among the technical crowd, which has expanded and refined the idea. Dozens of websites exist outlining these laws.
O'Donnell's examples includes:
Any body suspended in space will remain in space until made aware of its situation.
Any body passing through solid matter will leave a perforation conforming to its perimeter. (Also called the silhouette of passage.)
Certain bodies can pass through solid walls painted to resemble tunnel entrances; others cannot. (Corollary: Portable holes work.)