Thursday, June 02, 2011
Tuesday, May 31, 2011
Friday, May 20, 2011
Monday, May 16, 2011
Wednesday, May 11, 2011
Tuesday, May 10, 2011
Monday, May 09, 2011
- One Sentence Synopsis (complete)
- Script (v.1 complete)
- Moodboard (v.1 complete)
- Style Guide
- Colour keys/breakdown
- Visual Development & Concept Artwork (working)
- Production Artwork (Layout)
- Model Sheets
- Story Reel (Animatic with sound)
- Production Technique Summary (And hopefully a Test animation)
Thursday, May 05, 2011
Tuesday, May 03, 2011
Sunday, May 01, 2011
Environmental storytelling, evocative space, embedded narrative, information, hidden, reveal, obscure, mystery, immersion, exploration, personality, atmosphere, mood, style
Spaces or Environment are an essential element in any animated or interactive work. It sets context, mood, atmosphere, style, scale and time for a piece of work. It quickly tells stories about a person, communicate a world of information about a Character's personality, quirks, attitudes and relationships to the viewers or players in a short amount of time. It can be used to reveal or hide information from the Viewer. And especially in Interactives, space can be fully utilized to immerse a Player in a world, challenge a Player, allow a Player to challenge or interact with other Players, or allow a Player to exercise their creative and constructive abilities.
Without a thoughtfully designed space, there is little context for which a character or player exists, leaving the audience disengaged. A well defined space draws the audience into the work, allowing them to suspend disbelief, set aside the real world and completely involve themselves in the work presented.
Some interesting Linear examples would be the animated adaptation of Peter Beagle's “The Last Unicorn”, Jim Henson's “The Dark Crystal”, “Labyrinth” and cyberpunk manga by Tsutomu Nihei “BLAME!”. Interactive examples would be Doug TenNapel's “The Neverhood”, “Machinarium”, “Samorost 2” and American McGee's “Alice”.
For Linear Pieces, create a space that would inform your audience about a Character, without blatantly showing the figurative character itself. The character may move around and exist in the space, but is not to be the centre of attention. You may also choose to have the character absent. The space and objects within should reveal to your audience who the character is, what he does, and ultimately a particular desperate, surprising or shocking struggle he is facing.
Utilise lighting, diegetic and non-diegetic sound, colour, framing and timing to bring across your ideas.
For Interactive pieces, create a space (perhaps a room) that allows a Player to explore and work out for themselves who the absent character is. You may think about creating a hidden, secret place that reveals the sinister or astonishing truth behind the character.
You may use any media of your choosing.
Frame Rate: 25 fps
Resolution: 1280 x 720
Audio: stereo, 44.100 kHz
Format: Dependent on your chosen media.
Resolution: 1280 x 720 (preferably)
Works are to be submitted to the AIM SERVER along with a completed RMIT Submission Form.
Naming Convention: StudentNumber_Name_Title
Submission Date: 27 APRIL 2011
Friday, April 29, 2011
This looping exercise was based on a terrifying dream I had when i was a child.
The original idea is that the red Billiard ball is so incredibly tiny that you can grasp it between your fingers. And At THE SAME TIME, it is unimaginably huge that it towers over you, engulfing you entirely with its' overwhelming bigness. When you grasp it between your fingers, you are so terrified because you are aware that the thing you think you are holding in between your fingers is in essence completely beyond your understanding...
I'm sad to say I wasn't able to get the full effect of the dream down.
Wednesday, April 27, 2011
Tuesday, April 26, 2011
Saturday, April 23, 2011
Monday, April 18, 2011
Sunday, April 17, 2011
Saturday, April 16, 2011
Friday, April 15, 2011
Thursday, April 14, 2011
Wednesday, April 13, 2011
Monday, April 11, 2011
This work explores the tense and hidden emotional world of an elderly couple, amidst the hustle and bustle of a busy shopping strip. On the surface, we see the Wife's kindness and concern for bums and beggars as well as the Husband's clear disapproval of them. We are initially led to believe that the husband is miserly and uncompassionate. But as the story unfolds, we move deeper into the Husband and Wife's relationship, and partially discover a deeper more tragic reason for their behavior. There is also a chance of redemption where the Husband must decide what is more important to him: The healing of relationships or his own pride.
I am fascinated by this story because, while it may appear to be simple, there are layers of relationships that are gradually revealed to us until the last, most critical moment where an important relationship is hinted at but remains largely a mystery. The idea of information being hidden or out of reach is very strong, and that really ignites the audience's curiosity and sympathy for the characters. Revelation of the dynamics of relationships will come out directly through dialogue and action, and indirectly through silent looks, facial expressions, pauses and even the environment. The overall look would have a cartoony, stylized look where people have distinctive, easy to read shapes and faces. It would be akin to the french animation style of The Triplets of Belleville. This film would be made for an adult audience who can comprehend the subtlety of the story.
In Act 1, we are introduced to the characters and the world. Normal camera angles and ambient sounds give us a clear idea of the energetic and “everyday” consumer world. Everyone is preoccupied with shopping. There is a sense that everything seems all right. When we're introduced to the Husband, Wife and Beggar, camera angles become tighter, more personal, bringing you into closer encounter with them.
In Act 2, the camera angles will gradually build up to more dynamic, tilted and close up shots as we are confronted by the secret that the couple knows but are not talking about. Sounds of the outside world become more muffled and far away while smaller, more personal sounds are accentuated (e.g. sounds of teacups). Internal sounds (breathing, heartbeats) come in to describe the characters' internal struggles. A wider camera angle also shows the couple in relation to their surrounding world. While the couple's inner world is rocking, the outer world is oblivious to their turmoil. The sound of a plate crashing signifies a crucial confrontational moment for the couple, but is in fact just a small inconsequential event of passing interest to the people surrounding them.
In Act 3, the camera pulls out showing us the bleak end of the couple's encounter. It also telling us that we are coming to the end of our time in this couple's lives. As the camera pulls out of the shop, the couple will carry on wrestling with their problems, but we are no longer privy to what will happen. We can only guess. Sounds and camera angles revert back to the norm as in Act 1, and the audience is left with the knowledge that while we've just experienced something very intense and important to the couple (and perhaps now to us), the event has very little effect on the larger world that they are in. The world still carries on buying and selling, and the beggars still exist in the shadows.
Sunday, April 10, 2011
"Man down! We have a man down! What the hell are you doing, kid??"
"You three, get him out of here! We're too near the fight! Move your asses before they come back!"
+ + +
Saturday, April 09, 2011
We were tasked to create a simple and preferably non-figurative character for this project and put it into a simple situation e.g. waiting for the mail, putting on some shoes. The animation didn't have to be long, but it did have to show the character's personality as clearly as possible.
I wonder how successful I was at it. I know I have a long way to go to create more mature and thoughtful animation... I've realised over a long time that I had a problem with the Timing and Posing of my characters. It looks 'regular' somehow and I feel I've not pushed it far enough to really get to the essence of the characters. Sometimes I wonder if I'm afraid to... It is something that I would need to really figure out.
Anyhoo, This took maybe... 3 days to do. If I started this assignment EARLIER, I would have had time enough to clean it up and make it presentable. Another thing I shall improve on is Discipline. I'll have to find another time to clean it up proper. I've had too much unfinished work in my life... It is becoming a bit sad. =___="
We'll learn as we go along...