We have a lot to change in our animation, the feedback coming from Mike, Yuan and Conánn was very insightful. This presentation taught us that we should stick to our guns some of the time, that our original ideas prove better than those suggested to us.
Our feedback included;
- the lighting in scene one was too dark and unclear
- fix the first light- we were pointed towards the Jonas tutorial on Blackboard
- the pan should be perpendicular to the back wall, facing across the front of the beds
- the pan and flicker should be kept separate to avoid confusion
- we need to establish which light is broken better
- the effects were too much and needed toned down
- the camera should pan out- returning to the view of the room that we had originally designed (see our second animatic)
- there should be more interactions between the character and the objects- could an IV light up as she walks along a cord
- more eye interactions- i.e. the movement of the eyes when the scene is dark
- the sound effects need more depth i.e. more are needed. When she jumps on the bed- should it squeak
- more lightening needed- the comic Loony Tunes ‘zap’ as she touches the bulb
More obvious electrocution. YouTube. (2016).
- it was suggested that she is caught in her actions as she’s unscrewing the bulb
- the last line was unclear- Conánn suggested we spoke to our family members etc to see what piece of dialogue they thought would suit
With this feedback we met up and made a plan- the board showing our feedback for each scene vs the plan for each day. From this we went into Asana and allocated tasks to each of us.
YouTube. (2016). Electric shock animation loop. [online] Available at: https://www.youtube.com/watch?v=yHYMv5TavqI [Accessed 30 Apr. 2016].
When looking into Natasha Crowley’s blog she had the below video on the storyboarding of Hitchcock’s shower scene.
Storyboards vs the Film. (Vimeo, 2014).
Natasha made comment on the difference in the storyboards and the final scene itself. We found this also to be the case with ours.
We realised that additional shots, on top of our animatic, needed to be included. Such as close ups on the characters face when she is caught with the light bulb.
Natasha also shared a link with many of Hitchcock’s other storyboards. Hitchcock was renowned for his pre-vis of his movies, his storyboards so extensive that it is easy to see why not much of the movie changed in manner of shots. I’m hoping that our latest feedback will allow use to create our third (or fourth, I’m not sure anymore) storyboard/animatic and make sure it doesn’t allow any room for discrepancy.
Vimeo. (2014). Who Directed the Shower Scene in PSYCHO?. [online] Available at: https://vimeo.com/86791716 [Accessed 29 Apr. 2016].
When modelling the eye I wanted to add a level of realism to it. I know the human eye itself has a lot of layers to it- for the function of sight and stability. Although we are not marked on the modelling of the eye itself, I want to go back and make it more realistic, like that in the one Conánn modelled.
The eye diagram. (S-media-cache-ak0.pinimg.com, 2016).
In my own model, I didn’t include the extrusion of the cornea, maybe this is something I could do over the summer.
Below is the video I used to complete the eye model.
The eye tutorial. (YouTube, 2016).
The wire un-smoothed eye.
The eye model.
The eyes placed into the model itself.
S-media-cache-ak0.pinimg.com. (2016). [online] Available at: https://s-media-cache-ak0.pinimg.com/736x/a2/eb/42/a2eb42182e448038473975202c74de07.jpg [Accessed 28 Apr. 2016].
YouTube. (2016). Eye modeling Texture Like Pixar And Dreamwork Autodesk Maya. [online] Available at: https://www.youtube.com/watch?v=pY0yyGsGmzY [Accessed 28 Apr. 2016].
I tried to move my Maya file onto another computer (one of our Macs) and this happened. On one hand, I made beautiful abstract art work. On the other- what the heck.
I see General Grievous, a butterfly or an elephant with huge ears.
The neck was a bit of a stumbling block for me- simply the tutorial did not cover it.
That, and my original reference photos showed I had no neck (I stupidly wore a scarf which covered my neck completely).
I took the below photos to help look at my neck when modelling it. They made me realise how much of a scrawny neck I actually have.
When looking into the actual topology of the neck I found the reference below very helpful. I noted the pole under the neck, like I would expect to be, where the jawline meets the neck, where the masseter muscle meets the splenius and thyrohyoid muscles.
The Head by By Germán Zambrano Córdoba. (3dtotal.com, 2016).
Some of the muscles in the neck helped me to understand the topology and the flow of the neckline itself.
Muscles in the Neck. (Philschatz.com, 2016).
3dtotal.com. (2016). // Create stylized character scenes by Germán Zamorano Córdoba (page 1 of 2) / 3ds Max Photoshop ZBrush Digital Painting Project Overview tutorial from 3dtotal.com. [online] Available at: http://www.3dtotal.com/tutorial/2029-create-stylized-character-scenes-3ds-max-photoshop-zbrush-by-germn-zamorano-crdoba-motorbike-gas-station-cartoon [Accessed 28 Apr. 2016].
Philschatz.com. (2016). [online] Available at: http://philschatz.com/anatomy-book/resources/1111_Posterior_and_Side_Views_of_the_Neck.jpg [Accessed 28 Apr. 2016].
While talking after our presentation 2- Mike can over to give some points to us. He suggested that we look into the curtain animation as seen in Psycho (1960). The iconic curtain is one that we stupidly missed. It’s use of zooming in on the railing gives the audience the idea of what has happened by showing the hand grabbing the material and then the effect of it on the railing. I believe it adds the element of first person, putting the viewer into the position of the person in the camera.
The curtain railing consists of the loops popping off one at at time. However, in our animation, due to its stepped animation, we were thinking of simply having one frame of the curtain on the railing and one of it off the railing.
I first modelled the hooks and rings for the scene, based of the ones above, however I wanted to stylise them to be a little bigger and more cartoonish, like in our own scene.
I then used the already made curtain file of the fabric and the railing, as modelled by Cassie and Lorna.
Curtain on the railing.
Curtain off the railing.
To create this animation I kept the railing the same but duplicate the curtain material with the loops. I keyframed the first ‘on railing’ pose on the railing by turning the visibility on at the beginning and the the keying the visibility off at frame 75. I then did the opposite for the railing off, having the visibility set to off in the first frame and then key framing it on at frame 76, just as the ‘on railing’ pose disappears.
“A truth whispered among animators is that 70% of a show’s impact comes from the sound track.”– Michel Dougherty.
“The right music can help your animation flow, and sound effects can give your work a solid feeling that adds to the illusion of life.”– Mark Simon.
“Sound effects play an important role in conveying action. Music helps express emotion.”– Michael Geisler.
“Animation is a radio play- you add the pictures,” Conánn FitzPatrick.
Sound, as told to us by Mike, would play a huge part in our animation. The sound would demonstrate the actions in the dark, there should be enough in them to tell the story without having the visuals of the character or objects moving.
Our scratch track, from our original animatic, was slightly out of sync, and it was commented that we were one of the only groups with audio- which was great! Although it didn’t match up exactly- it was commented that we could see how we were influences by the track itself.
We decided to have a look into the sound in animation as a whole- to have a look at how the original animators approached it.
Steamboat Willie (1928) was one of the first recorded sound animations- as a test the company broadcast the half finished animation with live sound to audiences, which they loved.
Carl Starling was one of the most iconic names in soundtracks for animation. Working the likes of Disney in the 1920’s, Starling composed the likes of the Skeleton Dance (1928). He even dubbed Mickey Mouse’s voice.
The skeleton dance. (YouTube, 2016).
Sparling then went on to work for animator Ub Iwerks on the Flip the Frog (1930-1933). Before joining Warner Bros. studios.
Flip the Frog- Fiddlesticks (1930).
Under the insightful eye of producer Leon Schlesinger, with the likes of animators such as Robert McKimson, Bob Clampett, Chuck Jones, Tex Avery, and Frank Tashlin, Sparling dubbed over 600 cartoons. Sparling has created some of the most iconic sounds for the company, including “Merrily We Roll Along” for the Merrie Melodies series and “The Merry-Go-Round Broke Down” for Looney Tunes.
The Merry Go Round Broke Down. (YouTube, 2016).
The Merry Melodies. (YouTube,2016).
When researching originally for our animation, we were heavily inspiredly by Terry Gilliam and the Monty Python sketches.
Terry Gilliams- Dancing Teeth- the dancing of the dentures matches with the music.
The Killer Cars- part of the Flying Circus (1969-1984).
Creating Our Own Sound
Our original feed back stated that it felt too rushed. To properly pace our audio, Cassie and Lorna created the metronome recording. I thought it was very effective as it definitely gave the sense of a climax in the scene.
Lorna was the voice of our lovely character and both her and Cassie worked on the audio together. I really think they did an amazing job on this- you can really picture what is going on without an visual evidence needed.
YouTube. (2016). silly symphony – the skeleton dance 1929 disney short. [online] Available at: https://www.youtube.com/watch?v=h03QBNVwX8Q [Accessed 23 Apr. 2016].
YouTube. (2016). “The Merry-Go-Round Broke Down” Through the Years! (Looney Tunes). [online] Available at: https://www.youtube.com/watch?v=JBLF4MhyrJ4 [Accessed 23 Apr. 2016].
YouTube. (2016). Flip The Frog – Fiddlesticks (1930). [online] Available at: https://www.youtube.com/watch?v=TCt7xQ4kRRM [Accessed 23 Apr. 2016].