“A baby turtle born with an abnormally large shell has to reach the water before it’s too late.”
All assets were created in Photoshop and then put together in Premiere Pro.
Elements that needed to be interacted with were created in separate layers and then composited in Premiere Pro. Below is an example of 5 elements which were composited in one shot.
Example of different frames in a particular shot.
Water was animated by looping two frames. The ripples in the water had to coincide with the previous frame to make them seem like they are moving. The white reflected lights were re-drawn at roughly the same position as the previous frame to give it slight motion.
Wide shots were used in my film to portray two things:
How small the turtle is as compared to its environment.
How far/ close the turtle is to its goal.
Add a little music, to enhance emotion/ dramatic effect.
My animatics followed my storyboards very closely, in terms of compositions, angles, etc. Hence, storyboards have to be done well so that creating the animatics will be easier.
It will take a lot of timeif you follow the storyboards to create your animatics, realise that the angle doesn’t seem right, then scrap everything and re-do the entire scene.
I own an electric unicycle and I ride it wherever I go, the only time you will see me without is when it is spoilt, or when it is spoilt.
Javon Goes to Class (ft. Erwin Lian)
Music – ‘My People’ by GRiZMATIK
P.S This is not a promotional ad for electric unicycles.
Riding through different locations is a metaphor for riding around places which I have never been to in Singapore, or just lazy to visit because it’s too tiring to walk there. At the end of the film, I crash into the classroom where the presentation for this assignment is happening :p
Every individual elements had to be separated, for those that I needed to animate at least. All assets for this project were done in photoshop.
The animation for the environments were fairly simple, they appear and exit out of the shot with ease-ins and ease-outs to give that bouncy effect. Basically, I animated the scale parameter from 0%-130%-100% when they enter, and then the reverse for when they exit.
Every body part had to be separated, and then parented together and rigged in after effects.
Character Rigging & Animation
I used a plug-in called DUIK for my character rig. I began by manually placing puppet pins on the character’s joints, and then used the plug-in to link them together and to create the controllers for the respective body parts.
Below is the tutorial on character rigging using DUIK that I referred to, by Matt Wilson.
I was inspired by a previous film I did a few years back. The particular scene I wanted to reference was the scene of a character cycling in a stationary position with backgrounds panning across the shot.
One problem I faced was definitely the rigging part, although it was fairly simple, I struggled for awhile figuring out how things worked and how to parent puppet pins to bones to controllers to limbs.
Another problem was the spinning wheel of death, the pre-comp for my character was so ‘heavy’ it was impossible to play the animation, and I had to view the animation on my main composition whenever I want to see my character move. If I forget to switch to the main comp, I had to restart AE, which was why I literally saved every 1 minute.
Nonetheless it was a fun project and I have sort of re-familiarised myself with the prowess of AE, and Erwin, I only used AE ONCE BEFORE, and it was self-taught, for that one particular project. So please don’t overestimate me regarding for this assignment 🙂
For this assignment, we were tasked to create an original movie campaign for a brand new film.
Yunaku – ゆなく
Koyo is a nine-year-old girl who lives with her parents in a small village in the Arctic. During a fishing trip with her father, a devastating avalanche causes them to be separated. Koyo stumbles across a lost polar bear cub who has also been separated from its family due to the disaster. With only each other to rely on, the two venture across the Arctic to get back home.
I wanted the illustration to give a small hint about the plot of the movie. Below are some aspects of the film’s plot I have included in the final design:
The characters floating on a piece of ice in the middle of the ocean suggests it had broken off from the mainland, likely due to ice melting/ a disaster, and that they are lost at sea.
The cub howling and the girl patting it tells the viewer she is comforting it.
The ray of light shining onto the characters gives a sense of hope to whatever plight they are currently in.
The shooting star symbolises hope and good luck.
As my movie is about a girl and a cub trying to find their way home after a devastating disaster, I wanted to evoke a sense of hope in my poster design. I explored a few colour schemes which pertained to this emotion, mostly analogous colours of blues to pinks.
I originally wanted the story to be about destruction, such as a huge fire in the arctic melting the ice, and therefore looked up some purple-red colours that represent fire in a cool-dark environment.
Designs and colour explorations
There are two colour schemes which I wanted to explore in the following few designs, the third colour scheme of red and purple was for a fire-destruction theme which was scrapped and hence did not appear in the final design’s colour exploration.
For both the Japanese and English versions, I wanted the text to be simple and handwritten to match the essence of hand-drawn animation, as opposed to the ‘rigidness’ of typed texts.
For the Japanese version, I eventually went for the vertical placement of the text, much like how Asian scriptures are written. The vertical placement of the text also leads down towards the characters.
For the English version, I added a paw print inside the letter ‘a’. One consideration was to allow viewers who don’t understand Japanese and what the title means to hopefully link the paw print and the word ‘Yunaku’ together, which is the name of the cub.
During Studio Ghibli’s 25th anniversary concert, the orchestra played the music of various Studio Ghibli films while the different scenes of that soundtrack was being screened. Hence, this.
When a timid person is alone, he tends to be more expressive.
Square colour harmony
In this colour harmony, there are two sets of complementary colours, each set has a dominant and subdominant colour.
– yellow & blue, yellow dominant
– green & red, green dominant
I used an overall muted colour scheme to depict a typical boring classroom environment. The shadows make the light more contrasting and prominent, also, the direction of light and where the other characters are looking draws your attention to the character in focus.
Split complementary colour harmony
A warm and vibrant orangey composition to depict a relaxing afternoon bath, with a bit of blue and green to complement it and to give it a strong visual contrast between warm and cool colours. Again, the ray of light from the window draws attention to the character, also, the darker foreground elements to give a sense of depth.
Analogous colour harmony
For analogous there would typically be a dominant, subdominant and a third colour to be used as an accent.
In this case, blue violet is the dominant, violet and pink are the subdominant and the red along with the whites are the accents. There is an overall harmonious blend of colours, depicting a night time concert.
The lack of details in the background make it seem very foggy which gives a sense of depth that the location is very large. Due to the strong spotlight, the main character and the surrounding audience is given a rim light so that the mid and foreground elements interact with each other.
Because I own the Lamborghini of electric unicycles. endangering lives since 2017.
Split complementary colour harmony
The amount of blue and orange/yellow is slightly equal so there isn’t really a dominant colour, the warm and cool colours are balanced out.
This is a late afternoon setting as you can tell from the orange light cast on the ground and the long shadows of the trees. The rim light on the trees make them stand out more. The trees nearer are darker and those further are lighter.
Triadic colour harmony
Triadic colours of red, blue and yellow. For this colour harmony, there is typically a dominant and two other colours for the accents. In this case, blue is the dominant.
I tried to keep this one simple, no details besides the rim light which shows the form of some of the elements such as the guy’s body and the details of the bridge. Clouds used to draw your eye to the guy and to balance the composition, on the left is giant cloud + less trees, on the right, small cloud + more trees.
Split complementary colour harmony
I initially wanted to go for a muted colour scheme of like a typical race track scene of grey roads and a few coloured cars, but in the end i referenced the Cars movie from Pixar and went for a desert sunset theme instead. The dominant colours are orange and yellow, with blue as the cast shadows.
Also, a dutch tilt to make it more dynamic since it’s a moving race car, lines on the ground also act as perspective lines to give it a sense of perspective.
Drawing and daydreaming in lectures, mostly Art History, nothing against you Prof. Walsh.
Analogous colour harmony
Colours give it a very sleepy and dream like state kind of environment, as well as the lack of strong contrasting colours which makes it sort of muted which adds to the sleepy feel.
Character in focus is of a slightly brighter colour as compared to the rest, who are tinted with pinkish red to make them blend in with the environment and less prominent.
Since there are so many people, one way to make this one guy stand out is to make him brighter and another way was to use the rule of thirds to place him in an area of focus.
Analogous colour harmony
I wanted to go for a late afternoon time of day and hence chose a colour scheme of red-orange, orange, and yellow-orange the floor is made completely white to show there’s a very strong sunlight casting down, which allowed me to draw in contrasting cast shadows.
Split complementary colour harmony
I wanted to go for a very joyous, adventurous and majestic feel to this illustration, I took inspiration from DreamWork’s How to Train Your Dragon, where a bunch of dragons are flying above the clouds with what is called ‘god light’ shining down to give it that majestic feel. Rim lights are added to the clouds to give the volume.
Initially, it looked very plain and boring and i wanted to scrap it, but after adding lights everywhere it became one of my favourites out of the twelve.
I don’t pull all-nighters, it’s just for the sake of this equation :p
Complementary colour harmony
The turquoise window with the rain outside gives a very cozy feeling in the otherwise dull coloured room. There are two elements of focus, one is the window on the left and the other one is the main light source on the right, the two balances each other out.
There are rim lights on the elements in the darkness, again, to make them interact with the lights. The blurred foreground element gives depth to the image.
Split complementary harmony
A strong cone of light to draw your attention to the area. Characters in the foreground have rim light to show that there is interaction between foreground and mid ground.
Split complementary harmony
I went for a colour scheme which portrayed a relaxing sunny white sandy beach and cool turquoise water. I used adiagonal composition as since the guy is laying down, I didn’t want him to be parallel with the sides. I filled in the empty spaces of the beach with bushes and details of small rocks and seashells and Cody the Crab™.
Research and references
My greatest inspiration was from Pascal Campion’s illustrations, whose illustrations always tell a story and are visually engaging.
I also referenced a few colour schemes from colour keys and scripts of animated films. I find these very inspiring as the artist is able to use lighting and colours in such small thumbnail illustrations to tell a story.
When I test printed, the colours turned out quite yellowish. I had to apply a colour balance to all my illustrations to cancel it out. I eventually went for the top right adjustments.
A challenge i faced was working with square compositions and not the usual 16:9, it was quite challenging to get a good composition from such a small working space, but I think I made it work by keeping most of the elements in focus off centre and using the rule of thirds, along with the lighting.
I also tend to colour pick a lot from existing illustrations, the colours work but I have to tweak or remove some colours so that they fit into one of the colour harmonies taught to us. I find that colour picking is a very good way of approaching illustrating especially when you are not good with colours because you can see the colours the artist used and you can visualise how they would work with your own drawing.
This project has been very fun as I have never done so many illustrations before in one project, it has definitely improved my sense of colour usage and visualisation.
A warm analogous colour scheme to replicate a dream-like state of boredom.
The character in focus is of a brighter colour as compared to the other characters.
A warm analogous colour scheme that portrays a late-afternoon time of day. It gives a peaceful and relaxing vibe which signifies the end of a day’s work.
An orange and red colour scheme that signifies joy and adventure, the overlay of white lights gives a majestic feel to the composition. Complimenting these colours are a few touches of blue.
I really liked the use of the turquoise in the otherwise dull brownish illustration as seen from the reference image. The fog effect on the window makes it seem as though it is glowing. Rim lights were added to the elements in the darker areas to make them stand out just a little. A blurred foreground element is added to give a sense of depth in a ‘flat’ image.
Split complementary of maroon red, pale orange, and a hint of blue. Foreground characters are in the shadows but with rim lights so that they interact with the light in front if them.
Warm red and oranges and white sand to portray a sunny beach setting, along with a cool turquoise water at the shoreline to complete the beach-y vibe.
During consultation, Joy suggested that the foreground could be slightly more red so that the greens in the foreground will not take too much attention away from the prominent green chalkboard.
Square – Two sets of complementary colours
Yellow (Dominant) & Blue
Green (Dominant) & Red
I went for a muted colour scheme to depict a typical ‘boring’ classroom environment. The main character is standing in the light which is shining down onto him, also, the foreground is darker to further draw attention away onto the main character.
A warm and vibrant colour that reflects a sense of happiness, with a hint of blues and greens to compliment it, which breaks it from the otherwise monochromatic colour scheme, making it more visually engaging. Darker foreground elements create a sense of depth, and the main character is in the light.
Joy had suggested to add a light stand with light ‘pouring down’ on the stage so that it is similar to the shower head ‘pouring down’ the water. Similarly, the cone of light in the first composition also seem to be ‘pouring down’ onto the main character.
An cool analogous colour scheme of blue-violet-magenta and a little red creates relaxing composition of colours which is easy to look at. It also gives sort of a hypnotic vibe, where everyone in a concert is simultaneously singing along and moving simultaneously to the rhythm and beat of the music. A more detailed foreground and a blurry background gives a sense of depth and vastness of the location.
Process Part 2
Joy had suggested to make the green leaves more yellow-olive, and the red hat slightly violet, but eventually I made the hat lean towards orange and made the sky less green and more blue to fit into a split complementary colour harmony.
An orange-yellow colour scheme to signify a peaceful afternoon setting, with a complimentary blue to add a cool hue to the warm colours.
A triadic colour scheme for a balanced use of colours. The strong yellow rim light and high contrasting shadows gives a strong late-afternoon lighting, as if riding back home after a day’s work.
I had initially wanted to go for a muted greyish colour scheme with reds and greens to represent a race track environment with coloured race cars. But I thought of the outdoor environments from Pixar’s Cars and used that instead. A warm orange with complimentary colours for shadows and a tint of it in the sky, for a peaceful sunset-desert environment.
The End of Civilisation by Douglas Gordon is a three-screen video installation with sound. It shows a piano burning at a remote landscape, a re-enactment of an ancient local tradition of igniting beacons as an admonition or communication.
One screen is devoted to a close recording of the burning piano, from when it is first set alight to when it has been reduced to ashes. Another presents a panning shot of the tranquil surrounding landscape. Occasionally, licks of flame or wisps of smoke invade the periphery of the screen, the only indication that the seemingly serene landscape is in close proximity to a raging fire.
I find this project interesting as there are three cameras at the same location, but they are recording different things at the same time, the artist makes use of space and the visibility of the piano to make the audience wonder if the videos are showing the same location. The artist also makes use of layered sound to further differentiate between the three events, making the audience feel that they are at three different locations when they are actually not.
Déjà-vu, by Douglas Gordon
Déjà-vu uses footage from D.O.A. 1949-50, a Hollywood thriller directed by Rudolph Mateé. The film has been transferred to video and is projected simultaneously on three parallel screens at 25, 24 and 23 frames per second (left to right).
All three identical videos start simultaneously but diverge increasingly overtime, this play on time induces the experience of déjà-vu in the audience, also, as the three videos are placed side by side, the artist also uses space to have the audience able to see all three videos at once, but diverge as time passes, making them feel as if they are suddenly watching three different videos. As each video is playing its own sound, it also diverges overtime, making the viewer hear the same thing repeated two more time, furhter inducing the experience of déjà-vu.
Comparison between the two artworks
Both artworks uses measured, linear time.
The End of Civilisation further uses linear-edited time, when the camera cuts back and forth to close-ups of the burning piano. However, it is still in linear, or chronological time.
Déjà-vu can also be seen as to have used edited time as the framerate for the other two videos are sped up and slowed down by one frame, making them faster and slower than the normal video respectively.
An interesting use of edited time to make the two people look as if they are solving the cube with their feet and blindfolded, when in actual fact they are scrambling the cube and the video we are seeing is played backwards.
To fool us further, there is a third person walking in the background, when in actuality, he is walking backwards.
This is an example of measured time, but also conveys edited time as it is played in reverse.
For this project, we were tasked to study how rhythm can be achieved through the use of exploring composition, transformation in a visual sequence, how sound and image can reinforce or contradict each other, and explore literal and metaphorical use of sound with image.
This short video is about a ninja who has found himself in a secluded mountainous area, basking in the calmness and serenity of the environment until a crow disrupts the peace…
Task 1 & 2 – Visual Sequence & Soundscape
30 Places I’ve never been
New York City
30 Sounds I would hear at selected location (Mountainous area)
Airplane flying by
Fishes in ponds
David Attenborough narrating for National Geographic
Someone shouting, echoes
Step 1: Rough Storyboards
My first step of pre-production was to draft the rough storyboards, where I planned the camera angles, composition of elements, and sequence of events for the entire video.
Step 2: Soundscape
Based on my storyboards, I used the internet to find the sounds that would appear in each shot. I also recorded a few of my own sounds for use in my Hi-Fi storyboard and final video.
Sounds from free online sources:
Sounds recorded using the Zoom Recorder:
Underlying Piano Melody (Non-diegetic sounds)
I also created some simple piano melodies to help bring out the emotion of the character (Applied in Final Video, after Hi-Fi consultation).
Step 3: Low Fidelity Animatics
I then converted my storyboards into an animatic, along with the soundscape. I also used this stage to plan out the duration for each shot.
Step 4: High Fidelity Storyboard
The final step of pre-production was adding the colours, reflecting the overall mood of the film. Sounds were also recorded and finalised to be added into the final video.
The initial walking scene was removed as I wanted the first shot to be more impactful, i.e. dropping the audience right into the establishing shot of the vast mountainous area.
Task 3 – Final Video
Once again, here is my final video entitled Serenity.
Mood graph for my video. Character is at a location, encounters a problem, solves the problem, and everything goes back to normal.
A sunset theme of orange and purple was used to evoke a sense of serenity, it also signifies the peacefulness at the end of a hard day’s work, or in this case, maybe the ninja had just finished assassinating someone and is taking a break in the mountains.
There are three main parts for the soundscape in my final video: The ambience, the sounds created by the different elements in the video, and the underlying piano melody.
The waterfall and howling wind are the two sounds which can be heard throughout the entire video. It immerses the audience into the location, as if they were there themselves. The intensity of the sound of the waterfall is manipulated according to the scene, i.e. the closer it is to the ‘camera’, the louder it will be.
Sounds of elements
Due to the constant sounds of the ambience, the sounds of the other elements in the video had to be loud enough to be heard, but not so loud as to make it unnatural.
Underlying piano melody
As mentioned earlier, the purpose of the piano melody is to bring out the character’s state of mind and change of emotion throughout the video. The main idea was to have a serene melody for when he is calm, and an off-key note when the crow disrupts the peace. A repetition of notes is used for the scene where he takes aim at the crow with his bow and arrow, which creates tension.
Research and References
I was heavily inspired by the short film ‘Palmipedarium’ by Jérémy Clapin. The film has great ambience and subtle sounds in a relatively quiet background which really immerses the audience into the film. It also has brief moments of an underlying melody which brings out the characters’ state of mind and emotions. There is no dialogue so all the attention is really on the characters’ performance and soundscape.
Lastly, the artworks of Pascal Campion has always been an inspiration for many of my illustration based projects. His use of colours and ability to tell a story through an image is breathtaking.
This project has been fun as I was able to incorporate what I’ve studied when pursuing my diploma in Animation, going through the pre-production process of storyboarding and animatics right down to the final video, although it was just until the animatics part. It has allowed me to think more deeply on how important sound is and how it affects visuals.
Classroom Exercise – Analysis on Rhythm, Movement, Causality and Duration
rhythm – regularity or irregularity? any repetition? movement – successional or oppositional or stillness? is there presence of attack, sustain and decay? causality – clear expectations or unexpected? easy to track or not easy to track? duration – too long or too short? length of time effective?
Rhythm – A regularised repeating of movement or sound
There is the continuous soundscape of the ambience, i.e. the sound of the waterfall and the howling wind, creating a sense of calmness. There is also a continuous use of a consistent colour scheme of orange of purple throughout the film.
Movement – A shift or variation in the location of an object, light or sound
There are a few moments of successional movement, where the audience is attention is focused to where the main character is looking and pointing the bow and arrow at.
An example of movement can also be seen in the difference between the smooth-moving clouds and the staggered movement of other elements (animatic animation).
Causality – The principle that everything has a cause and effect
The story is relatively straight forward to understand and predict, when the crow interrupts the character’s calm state of mind, and when he puts down his bow and arrow, the audience can predict that he is going to shoot the crow down, an expected outcome. There is a brief moment of anticipation or suspense when the character eyes the crow while pointing the bow and arrow at it for a few seconds, taking aim at his target.
There is also a causality of sound when the character pulls the bow string back, the audience will expect the sound of the bow string snapping back and the sound of the arrow whizzing through the air.
Duration – Whether the time allocated to the work is effective
The video lasts 1 minute 7 seconds, which is around the required duration of the video in the project brief. The duration is also effective as it manages to illustrate the story being told. The story has a start, middle and end.
The following two weeks were spent improving the first two designs, making the tote bag, and working on two new quotes.
In this post, I’ll be covering:
Comments for first two designs from 1st group consultation.
Practising silkscreening & Tote bag creation
Ideation for 3rd and 4th designs, comments from 2nd group consultation.
Comments for first two designs
“Mankind was born on Earth … it was never meant to die here.” – Interstellar (2014)
For this design, it was mentioned that the soldiers needed to have more contrast to make them pop out more, the field of garbage on the other hand had to have lesser contrast as they were too distracting. The direction of the smoke also had to be flipped to better direct the viewer’s eye.
“T-Rex doesn’t want to be fed. He wants to hunt.” – Jurassic Park (1993)
For this design, it is a little unclear that the girl being pushed away is lusting for the man, one suggestion is to replace her with a ‘world’ of women or a plate of women, the latter with reference to food from ‘be fed’. The size of the rose could be bigger so that the audience can focus on the rose and move their attention down southeast.
Practising silkscreening & Tote bag creation
After practising, we went on to print our final designs during recess week.
Didn’t turn out as great as I envisioned (looks a little dark) but I was happy with it, the reduced details of the field of trash worked well; the trash bags look like trash bags, I was afraid it would look like blobs of ink.
Ideation and comments of 3rd and 4th designs
The week before the deadline, I worked on my final two designs.
“If you are good at something never do it for free” – The Dark Knight (2008)
For this quote, I referenced the story of the Golden Goose, instead of giving its golden eggs for free to the little boy in the story (I think there was a little boy), I made the goose demand payment for it, in this case, to a man. I deviated from ‘money’ for this quote and used fish instead as the form of payment. I used a chef instead of a business man as it fitted the theme better.
“You are no longer black, or brown, or yellow, or red! You are now green! You are light green! Or dark green!”- Jarhead (2005)
As the quote is talking about soldiers and their camouflage, I went on to use the classic example of camouflaging, chameleons. Comments from the consultation were that the chameleon could stand out more, the plants are interrupting the silhouette, one suggestion is that the chameleon could be holding up the plants. As the snake is not the main focal point, it can be smaller.