Fate Saga is a fantastical, action/drama animated series about fate and free will, and follows Cain, a knight who can see the future. With only glimpses of prophecies to guide him, Cain interferes in natural disasters and war in hopes of stopping his tragic visions from happening.

However, in a world on the brink of an apocalypse, is knowing the final outcome enough to change it?

Fate Saga is an original animated action/drama series taking place in a fantastical world based on Medieval Europe.

27 December 2010

Shot 47 Clean Up

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Animation and Clean Up by Dana Corrigan

Now that I'm jumping back on clean up, I wanted to start off with this shot because it's one of the shorter animations that haven't been cleaned yet, that would still be challenging because it has a lot of subtle motion and hair flapping.

17 December 2010

Shot 61 Roughs

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Animation by Amanda Christensen

In this shot, Cyrus throws down Cain's cape and tells him off. The fun part of this sequence is that, for anyone who doesn't know the character, what Cyrus is saying makes no sense. This is especially true for Cain, who has only just run into him.

This shot relies entirely on acting, and it was important to show how irate/unreasonable Cyrus is, as well as display how his actions would make him look crazy to Cain (or more crazy than usual) but, hopefully, it makes more sense to the audience because by now it should be established that he is an empath.

I thought Amanda was a brave soul for wanting to try this shot, because this was a hard one. But I love the acting in it! I love the broad gestures he uses for emphasis, and the more subtle gestures he uses when he says "every pore."

Issues with the model I think I'll be able to handle once I get to inking. I always ink the shots that anyone else animated because, especially with how quickly these shots need to get done, I can't expect everyone to be able to rough animate completely on model - and I don't want to give other clean up artists roughs that are off model. So currently I clean the shots roughed by other people (or my own shots if I feel they are very complicated/too rough to pass on easily), and pass off my rough animations to the others for clean up. So far it seems to work well. As long as the rough's volumes and proportions are close enough, I can fix the issues in the cleaning process.

Also, this is one of the shots where it's amusing to press the pause button and look at the in-betweens.

14 December 2010

Shot 63-65 Roughs (Updated 12/20/10)

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Rough animation by Dana Corrigan

Update (12/20/10): I detailed Cyrus' head a little bit more during the new animation, and added his mouthshapes. His model isn't perfect, but I think I'd be better off focusing on making sure his overall motion is good and fix the issues with his proportions/volumes/etc. when I get to the clean up stage (or, to be more precise, when I can work on it with a Cintiq). I think it's ready for me to move on to the next shot, until I come back for the inking.

Update (12/18/10): I lengthened shot 65 so it encompasses more of the dialogue, and extended the part where Cyrus is crouched down to add animation to his head/shoulders to connect his motions to the dialogue. Tracy made a great suggestion about adding a moving hold and using his head to accent the dialogue, and I think it works pretty well! I'm holding off on adding the details and mouth shapes until I have fresher eyes than mine look at it and make sure it actually does look like Cyrus is talking.

Update (12/16/10): Detailed Cyrus' roughs, except for his mouth because I've realized that the voice acting doesn't match the motion. The voice doesn't sound strained enough for Cyrus' physical exertion, and I can't re-record it with the same person. So there are a couple of ways to resolve it: 1) Remove the line and just have him attack. 2) Have him say the entire line while Cain's on screen. 3) Change the placement of the line so it's mostly when Cain's there, but you see the beginning of Cyrus' crouching before the line ends. The voice acting might work a little better before he lunges. 4) Have Cyrus pause in mid-crouch and finish the line, then lunge.

#1 might work but I think Cyrus would say something right before he attacks. When he's angry, he rants so it's more in character for him to speak right before he attacks. #2 Timing felt slow. #4 Didn't feel right or in character for Cyrus to sit still and wait to finish the line. The attack is spontaneous (or, more accurately, Cyrus can't control his temper so well), so for him to stop to finish talking would make the attack feel more deliberate/pre-planned.

Right now I'm going the route of #3 so the timing is a bit different now. I think it's working the best though I'm still shuffling the frames with the audio back and forth.

Also I think Cyrus' head gets too big when he's leaning forward but I'll fix that the next time I work on it.

(Original Post) The only shot I'm really animating for this right now is shot 65 because it's in the trailer. Shot 63 has been started but it's very bare right now. Shot 66 is going to be animated separately but the storyboards are placed here as a reference.

13 December 2010

SC062 Roughs


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Rough animation by YoonJeong Jo

This is the current roughs in progress for Cain, for Shot 62. Cyrus is going to be mostly (if not entirely) still. Acting emphasis is on Cain being both polite but in a rush - so it's important that Cain seems urgent.

10 December 2010

Shot 109 Composite Test version 2

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Animation by Tracy MacLauchlan. Clean up by Dana Corrigan. Fire roughs and clean up by Zelda Vinciguerra. Background models by Alyssa Seidl, William Blake Harris and Susan "Uzi" Souza. Textures by Susan "Uzi" Souza. Composite by Dana Corrigan with help from Ryan Gatts

Based off of a rendered version of 108 that Ryan sent me, I made some alterations to shot 109's colors and set up. It's not exactly the same, and I couldn't add embers because I am using a trial version of After Effects and don't have access to some of the particle effects, but I like how it's coming out. I am concerned that the fire might be too bright, and might tweak some of the settings to bring some of the brightness down. Any suggestions, ideas or if you prefer the set up of one shot over the others, please let me know! Their settings are similar, but there are some differences (the biggest being the fire itself, and some of the contrast in the colors of the scene.

Shot 113-114 Composite Fire Test Version 2

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Animation by Dana Corrigan, Clean up and color by Chrystal Giambastiani. Background models by Alyssa Seidl, William Blake Harris and Suzanne "Uzi" Souza. Fire animation and clean up by Zelda Vinciguerra. Composite by Dana Corrigan, with help from Ryan Gatts

Looking at the version of the composite fire that Ryan did, I tried emulating some of the effects on here. I'm using a trial version of After Effects, so I can't add the ember particles that he had. I'll have to wait until I can use the school's computers again before I can try that. But otherwise, I also toned down some of the effects because the fire is so close to the viewer, I wanted the viewer to be able to see through the flames due to the close proximity.

Shot 108 Fire Alt - Ryan's Version

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Character animation by Tracy MacLauchlan, clean up by Dana Corrigan, colors by Megan Miller, Fire animation and clean up by Zelda Vinciguerra, background models by Alyssa Seidl, William Blake Harris and Suzanne "Uzi" Souza. Background textures by Suzanne "Uzi" Souza. Composite by Dana Corrigan and Ryan Gatts

Ryan gave me some great suggestions for some alterations to make for the compositing to give a better sense of heat from the fire and give a nicer aesthetic. This was the version he sent me after he had played around with some of the effects and particles. I really like what he did with it. I like the little embers and the brightness of the fire which makes it look very hot, and magical. I'm playing around with some of the other shots to get a look similar to this, and will post those next. If there are some shots you like more than others or any suggestions, let me know as I'm still in the process of experimentation.

06 December 2010

Wagon and Lighting Fixture Concept Art

Concept art by Kate Kirby-O'Connell



Kiosk Concept Art for Duero

Concept art by Kate Kirby-O'Connell






Test Composites added shots, updated textures for some and final fire for others

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This is a video of all of the footage I have composited thus far, in chronological order although any shot that's not yet composited is missing, so there are definitely gaps. This is just a way to see all of the footage together and make sure details, like the look of the fire, remain consistent.

05 December 2010

Shot 109 Composite Test with Final Fire

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Animation by Tracy MacLauchlan. Clean up by Dana Corrigan. Background models by Alyssa Seidl, William Blake Harris and Suzanne "Uzi" Souza. Textures by Suzanne "Uzi" Souza. Fire animation and clean up by Zelda Vinciguerra

The colors aren't yet finished, so you may not be able to see Cyrus at all. But once his colors are finished, this animation will be updated. Since Zelda had the fire finished for this shot, I wanted to try compositing it as well.

Shot 135-140 Composite Test With Final Fire

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Animation by Dana Corrigan. Clean up by Dana Corrigan. Colors by Ashley Woodard. Background models by Alyssa Seidl, William Blake Harris and Suzanne "Uzi" Souza. Textures by Suzanne "Uzi" Souza. Fire animation and clean up by Zelda Vinciguerra.


Shot 113-114 Composite Test with Motion Blur and Final Fire (Updated)

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Background Model by Alyssa Seidl, William Blake Harris and Suzanne "Uzi" Souza. Textures by Suzanne "Uzi" Souza. Animation by Dana Corrigan. Clean Up and Color by Chrystal Giambastiani. Fire animation and clean up by Zelda Vinciguerra. Composite by Dana Corrigan

This is a test for the fire compositing into the scene. I've run the same effects on this fire as I did for the fire for Shot 108. I really like how those transparencies work in this shot because, with the fire segments on top of each other, you can only really see through the fire along the edges the most, while the area in the center is more opaque.

Any suggestions on the fire effects would be great! It's still an experiment with me so I'm willing to try any ideas!


Updates: Added motion blur to the scythe.

Shot 108 Composite Test with Updated Background and Final Fire

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Background models by Alyssa Seidl, William Blake Harris and Suzanne "Uzi" Souza. Textures by Suzanne "Uzi" Souza. Cyrus animation by Tracy MacLauchlan. Clean up by Dana Corrigan. Cyrus colors by Megan Miller. Fire animation and clean up by Zelda Vinciguerra. Composite by Dana Corrigan. Composite/After Effects advice by Ryan Gatts

With the textures in progress and the final fire coming together, compositing has never been so exciting! Admittedly I've never composited anything this complicated, but this is really interesting experience and I'm enjoying the process. This version of the composite is testing both the fire effects and the textures-in-progress.

Regarding the textures - I really like where it's going, especially on the right side of the pillar, where the texture is more smudged and doesn't have the lines. I'm really glad that we didn't end up having to color the backgrounds, at least for the Crystalin. Everything remains in greyscale, and is colored with the fire gradients I made in Photoshop and overlayed in After Effects.

This version of the textures has less contrast and is removing the straight lines. The section on the right is perfect, I think. Enough contrast so that the viewer can see that the wall has a wood texture, but not so much to draw attention to itself. And that little smudge adds a really nice touch and keeps the wood from looking too uniform. Uzi's doing a fantastic job, and I can't wait to export the final composite for this shot when the textures are finished!

Regarding the fire - For the fire itself, Zelda had it set up in three sections. When I imported the fire sections into After Effects, I duplicated the fire so that each section had two layers with the same animation. This would allow me to play with the Hue/Saturation on one layer, and be able to vary the opacity so that the colors would change just a little.

The top fire layers are a solid orangish/red color, are set to Overlay and have a low opacity to give the fire a varying redder tinge while (hopefully) maintaining its brightness. Ryan Gatts gave me a great suggestion to add a wiggle expression to some of the functions and effects, to make it less uniform. So the transparency of the top fire layers have it.

Also, the main fire layers (which are, for the most part, unchanged from Zelda's set up), have a slight opacity wiggle so you can see Cyrus' hand through the fire. But I have the opacity increase when he sets the scythe on fire so that the variance is smaller. You'll still see the scythe through the fire, but just a little bit.

Finally, all of the fire layers have blur effects, starting at 1 with the top/effect layers and 2 with the main fire layers. The wiggle is set to .5 and 1


Final Notes - I think all that is left to do for this shot as to add the highlights. Should there be shadows? Does anyone know of an easy way to add highlights or shadows, that would still look good? I have a couple of ideas/tests in mind, but my main concern is how long it might take and how much time can be spent on all the fire scenes by the time the trailer's completion in March. I do feel highlights or shadows are absolutely necessary, but I may try to do just one and hold off on the other until after March. But any suggestions would be great! And if there is anything about the fire compositing that looks off or any suggestions as to what I could do to make it look even better, please let me know!

26 November 2010

Shot 108 Final Fire - PreComposite

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Fire animation by Zelda Vinciguerra

This is the first shot with cleaned up and colored fire! This is from the Flash file. Due to technical difficulties with Shot 108 (that shot seems to be cursed with an unusually large file size and occasionally corrupting itself), none of our computers can handle combining the finished fire with the colored animation within the Flash document.

Luckily, we don't need them all to be in the same file in order to composite it.

Shortly, I will be exporting the fire separately and adding it into Shot 108's composite, where I'm going to run some layer effect and transparency tests.

Shot 47 Roughs

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Animation by Dana Corrigan

Shot 47 is a run cycle, this video is just the cycle repeated a few times. It's weird getting used to the tablet again. I already miss the Cintiqs.

This is a short sequence, and what I wanted to focus on was the motion of the arms and the hair, as well as the rise and fall of Cain's body. That was the best way I could think of that would imply that he's running despite the fact that the viewer can't see his legs. This cycle is one of the few animations in the film done entirely on ones, because I didn't feel like you'd be able to see the motion well enough on twos and it's a cycle. Since the animation will play over and over again, I feel that the animation needs to feel believable or it'll really stand out.

I think the hair and some of the volumes need some work, but I like how the motion of the arms is coming out so far.

21 November 2010

Film version 19

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This version has: A few new roughs during the first half of the film, cleaner roughs during the fight in the Crystalin and with other shots in various degrees of cleaned, inked, colored and composited. This newest version has all of the work that has been done on it these past 10 weeks.

09 November 2010

After Effects Color Tests

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These are just the shots I have in varying stages of compositing. Some are nearly done, some are early on (and some don't even have the clean up or colors yet). But I wanted to take this opportunity to start taking more screenshots within the Crystalin Maya file and see if I can get the shots to match up color-wise in After Effects. Although they are in chronological order, there are only several shots that have been composited so far, so there are some gaps in between.

Shots shown here are 104, 105, 106, 108, 109, 111, 113, 114, 116, 117, 118, 119, 132 and 145

04 November 2010

Crystalin Textures in Progress


Textures by Susan "Uzi" Souza

We're running a texture test on the Crystalin now, to see if we can make it look less like a 3D image in Maya and more like a painted illustration. We wanted to avoid Toon Shaders because they would look too cartoony. Instead, we wanted to try removing as much of the 3D shadows as possible, and use speed painting for the textures.

The next step will be to retake the screen shots and re-enter them into the composites.

Duero Concepts


Duero town concepts by Sam Keiser

Sam made two versions of the town concepts - one focusing on the colors and the other focusing on the lines to help the modelers with the buildings' shapes. He used the color keys as a reference and I love how it came out. Has a great mood and I love the set up of the buildings!

24 October 2010

After Effects Composite Tests

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Colors by Amelia Colvig and Dean Julien. Fire roughs by Zelda Vinciguerra. Composite in After Effect by Dana Corrigan.


UPDATED: 105-106 Added. I wanted to test the fire gradients and experiment with the lighting change for when Cyrus ignites the fire. I am pretty happy with how it turned out. The only thing off hand I want to go back and change is Cyrus' lines. The black lines so close to the bright light don't make it seem like Cyrus' arm is as effected by the lighting change as the rest of the sequence. However, I'm going to wait for Zelda's fire to be colored before I make any changes to this.
- Also, I learned of an interesting feature in After Effects while working on this. The ability to program a "wiggle" in a chosen timed property. For the Opacity and the Hue and Saturation Effect color channels, I alt+click on the stop watch and a line of code appears underneath. I changed the code to wiggle(.5, 20) which means that every 1/2 second, that property's value changes to somewhere within a -20 to +20 range from your property's original value. This is going to work really well when we get to the highlights, since now instead of animating the flicker, maybe we can just program it instead.
This whole project is becoming a really good way of learning the programs on a more intermediate/expert level. Necessity is the mother of invention, after all. No better way to see what a program can really do than when you need it for the sake of your project.

Shot 104 Composite in After Effects, with color correction. No sound yet. That will be added in the Editing phase. I wanted to see how hard it would be to alter the colors to account for the changes in lighting. Simply darkening Cyrus and the background was easy enough. The real test will come with shot 105, 106 and 108, which will be the first fire shots I'm going to test in After Effects.


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Colors by Sara Crawley.

Shot 145 test. Used gradients from Photoshop into After Effects with overlay, and some color correction on Cain and the background to account for the fire. I definitely feel it needs some kind of shadows over Cain. For highlights I'm not sure if he's close enough to the fire in this shot, but he definitely needs something. Will continue to experiment with this shot.


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Character Animation by Tracy MacLauchlan. Clean up by Dana Corrigan. Colors by Megan Miller. Fire Roughs by Zelda Vinciguerra.

UPDATE (10/27/10): Fixed the motion of the gradient, so now it follows Cyrus' scythe in the end when he swings it down. The gradient also darkens and desaturates a little as it's pulled away from Cyrus' face.

This was a fun test to do. I made the fire gradient in Photoshop and did color corrections in After Effects. Cyrus has two copies on top of each other, one with a saturated fire color effect in After Effects, and the other with his original color scheme underneath. The fire color scheme Cyrus is at a low opacity, and I animated the opacity for when the scythe ignites. The saturation and brightness of the gradient also changes when the fire takes over the scythe, and I animated the gradient so that it followed the flame and grew as the fire grew. There are still more tests I need to do, and Cyrus will definitely need highlights because he is still too dark. But with that said, it's so exciting to see a shot this far along!







19 October 2010

Shot 108 Clean Up (Updated 10/22/10)

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Clean up Keyframes and Breakdowns


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Clean up with InBetweens


EDIT 10/22/10: Finished! Finally! Wow, clean up takes a long time even when the roughs are already clean and well done to start with

Original Post: Currently I am working on several shots at once, including the clean up on Tracy's roughs for shot 108.

I've noticed recently that clean up isn't something that is taught at length at SCAD. I learned most of my clean up practices from Humoring the Fates Animation Studio, and it surprised me that it wasn't something touched upon too much at the school. I guess it makes sense, when the primarily objective is to teach the principles. This is the reason I think helping others with their films is a good idea, not just because of networking but because it brings about scenarios similar to what you'll encounter in the business world, that you really can't prepare for until the time comes.

My clean up practices is basically to draw over the roughs for all of the keyframes and breakdowns, taking into account the position of the previous and later line art. What I'm going to do next is go back and fill in the in-betweens, but using the onion skin feature in Flash much more strongly to try and avoid the line shakiness and popping that sometimes comes with bad clean up jobs.

11 October 2010

Test 2D/3D Conversion Color Concept - Crystalin Interior



Colors by Tracy MacLauchlan

Edit: Two more of the different color alternatives for environment pre-and-post fire. The top image is the one we're going with. We like that the firelight guides the eye to the fire, while Cyrus is neither too dark nor is he burned out by the bright firelight.

Original Post: Here is one version of a test color for the interior of the Crystalin. Even with just the character colored and an overlay of a single color over the background, the 2D/3D differences aren't as prominent. Since the Crystalin is cast in darkness most of the time, it would probably be best for the textures to be simple. The hardest part might when the fire light is close to the table and when Cain first gets thrown into the Crystalin, because the lighting from the outside will come in for that brief period.

04 October 2010

Shot 91 Cleaned Up and Colored

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Here is the very first completed character animation! Fully cleaned up and colored, thanks to Ashley Woodard! Seeing the characters moving in color for the first time is really getting me psyched! I'm so excited!

28 September 2010

Shot 104 Clean Up

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I have some recruits who are interested in coloring and some of the shots are just starting clean up, so I decided to go back and clean up/add in-betweens to Shot 104 since it was partially complete already. I really liked the shot originally and I'd like to put it on my demo reel, so I figured I'd do the clean up and in-betweens myself.

22 September 2010

Cain Poster Illustration

This is an illustration of Cain done as part of a poster calling for 2D Animators. Jess helped with the text (including text that's in the actual poster) and the background. This will later be turned into one of possible two posters advertising the film itself.

20 September 2010

Pilot Trailer (Updated 9/21/10)

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So, in keeping aware of the March deadline for my Thesis, I decided to make a cushion by creating a trailer for the pilot as my actual Thesis project so I could have more time to work on the film when I graduate (instead of having to rush everything and risk not graduating in time). The film will still be continued after my graduation, but using a trailer to fulfill the requirements of my Thesis will let me spend the time I need on the film without having to rush it as much as I may have had to otherwise.

Consequently, the animations for the shots used in this trailer will be finished, colored and rendered first. Strategically, many of the shots in the trailer are already ones completed for the film, and this will give me directions for which animations to work on next. It'll be interesting to work on shots outside of the Crystalin since all of my efforts had been concentrated in there all summer.

Music is a piece of the film's soundtrack, by Ryan McCullough.

18 September 2010

Test Comp (updated 9/21/10)

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Update (9/21/10) : Shots 086-088 have new rough animation

Original post: Although I have another post for the updated comps, I figured it'd be good to put up a new post. It's fun to compare new and old versions. Anyway, here are the changes between this version and the previous composite:

All fire shots in the Crystalin have fire.
Shot 91, 92, 94, 95, 149, 153 and 155 have new rough animation
Shot 101 has darker roughs for Cyrus, so he'll be easier to see.
Shot 130-132 and 141-144 have some adjustments in timing to make the shots move quicker.
Added Ryan's beautiful music-in-progress

14 September 2010

Music Score Test

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This is a music test done by Ryan McCullough. Personally I think it's brilliant so far. I love how the mood is so well synchronized with the action going on screen, it adds so much tension! Even without the dialogue and the animation not yet fully rendered, the music brings so much mood and intensity.

The footage on here is a little older because this is the most current version I had at the time he was working on it. I am currently in the process of placing the sound from this video into the comp, but I need to make some adjustments to the animation to sync it better to the sound. Some of the newer animation sequences are a little longer than the storyboards he had to work with and honestly it might work better to shorten some of the animation (there's a sequence I think might be a little too long anyway). So I want to do that and also have my professors look at the animation before having Ryan make any timing changes with the music.

It makes me so excited to see everything starting to come together!

04 September 2010

Shots 130-132 In Progress (updated 9/6/10)

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Updates (9/6/10): Filled in the rest of the frames for shot 131. Reorganized some of the frames to tweak the easing.

Update (9/5/10): Added shot 132, and added more frames to shot 131. Shot 131 still needs more frames in the end (about 3, I think, for the easing) and then the roughs for this sequence will be finished!

Original Post: Right now, only shots 130 and 131 have anything to show. But shot 132 will also be in this file. There really isn't that much to these shots. What's been taking this shot awhile is not that it's complicated, but because there's not that much movement and even in roughs I have to be careful to make sure the subtleness in between each keyframe is enough to see the movement without it being too jumpy/jarring. I also have to be careful about it being too swimmy, which shot 131 might be. I may go back and make some adjustments, such as making Cyrus' facial expression more snappy (instead of gradually changing expression like the rest of his motion) before I continue onto shot 132.

31 August 2010

Shot 152 Updated (Edited 9/6/10)

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Updates 9/6/10: I had some critiques that Cyrus was changing hand position on the scythe too much in the end before he strikes Cain, which implies that the scythe is much longer in the end than it is in the beginning. After carefully looking it over and comparing it to the first time he adjusts his hand position earlier in the animation, I think they were right and the scythe did seem too long. So I went back and kept the same time length, but slowed the animation down so he shifts the scythe in his hands less than before. I think it does look better now! Thanks everyone for your help!

Updates 9/4/10: To resolve the problem with anticipation and impact of when Cyrus knocks Cain out of his path, I added more frames in between when Cyrus pushes off of the table and when he hits Cain. This gives Cyrus a pause, where he's shifting hand position on the scythe while watching Cain. This pause gives Cyrus thinking time, and the viewer a moment to make sure the action doesn't get ahead of them.

I'm still tweaking the impact, particularly on Cain's part. I want to show a bit of whip action in Cain's neck as his head drops down and his body flies back. However, it's been challenging to do so while keeping the action quick enough. With school coming quickly in the horizon, I think I'm going to set this animation to the side and continue working on others, until I can get the critiques of my professors.

I anticipate that I'll be going back to many of these animations and tweak them before they go into inking/clean up. The best I can think of to do right now is to have as many animations ready to show (both individually and together for shot-by-shot flow) by the time school starts.

Original Post: I've started adding the rest of the animation when Cyrus slams the butt of his scythe into Cain and knocks him off screen. I'm still making adjustments to the impact and the anticipation on Cyrus' part. Because Cyrus shifts the scythe from holding it right at the end, to holding it right at the base of the blades, I needed Cyrus to shift his hand position back towards the middle/lower part of the scythe. So during his anticipation, he's supposed to throw the scythe back and catch it in a quick motion.

I don't think the change in hand position on the scythe reads that clearly, but adding more frames makes the motion too slow and the most important aspect of that motion is to show the impact. I think it works to a degree, but I will probably switch to a different sequence and go back and mess around with this shot again in the future.

05 August 2010

Test Comp v7 Updated 9/07/10

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Here's a quick compilation of the animations that have been done thus far put together in sequence. The gaps are filled with the storyboards and there's one blank gap. The timing of the storyboard's isn't perfect and there's no sound yet other than Cain's scream of righteous fury. This is just a test to see how the clips are meshing together in sequence.


9/9/10: Added more dialogue to the composite. Added extra frames at the end of shot 152 because I felt it cut too abruptly. Began animation for shots 153 and 155.

9/7/10: Added Zelda's fire to shots 107, 111, 112, 113, 118, 126, 127, 144. Fixed Cain's eyes in shot 143 so now he looks more like he's looking down at the fire instead of looking over it. Adjusted his animation a little in shot 144. Added shots 130-132, and added the ending animation to shot 152.

8/7/10: Added Cyrus' maniacal laugh, Zelda's fire on shots 133, 134, 137, 140 and 151, rough animation sequences for shots 115, 116, 119 and 122.

I really wanted to do the shots before and after the sequences Tracy handled (117-118). I loved her impact so I really wanted to make Shot 116 have the same amount of force that is implied in her animations. I like how the shots are flowing.

I think tomorrow I'm going to play around with shots 120 and 121. I would really like to try and complete those and as many other connecting sequences as I can before I visit family in NY on Monday. I'll be there for 10 days and, from then on, redirect some of my focus on the Thesis paper and preparing for a class I'm teaching next quarter. This blog will continue to be updated, just possibly not as frequently.

I wonder if I should make a new blog chronicling my research with the paper? I didn't intend to originally, but it may be an interesting way of keeping track and give others the opportunity to give their input.


8/7/10: Added shots 111 and 120. Fixed shot 144 (143 and 144 both had Cain look over, so that it appeared that he looks in the same direction twice.). I want to work on 121 and fix 143 next. (143 has Cain's eyes looking up above the fire instead of down at it. It'll be a quick fix once I get to it)

8/8/10: Added shots 121, 123 and 124.

8/26/10: Added Zelda's gorgeous fire to several of the shots! Sorry for the temporary lull in updates. As I had warned previously, I had to redirect my focus to the Thesis paper and the class I'm teaching next quarter, but I will soon be working on a little bit more animation to get as far as I can before the quarter starts. Once it starts, I will probably be updating the blog more frequently again since working on the Thesis film will be a very high priority.

04 August 2010

Shot 110, 117-118, 145 and 147 Roughs

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Shot 110 Roughs

This was a tough shot to do just because I didn't have much time to plan it. Originally I figured it would look better to make it look fast, so my first draft included speed lines and blurred motion. But it ended up looking more like a helicopter blade spinning over Cyrus' head and it didn't look like Cyrus was the one making it spin. So I went to my references with Tyler (A friend of mine who knows martial arts and was kind enough to re-enact some of Cain and Cyrus' moves on camera!), and focused on Cyrus' hand and arm motions to try and keep it true-er to real life - while of course pushing it a little.







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Shot 117-118 Roughs by Tracy MacLauchlan

Once again Tracy did an excellent job with shots 117-118! I love the impact, how much Cyrus gets knocked back and how he sways like a stunned fighting game character. I really felt the intensity of the impact.







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Shot 145 Roughs

Not much to this shot. It's the moment Cain realizes what he's doing. I wanted the eyes to show the expression first (mainly the pupil/iris) and the rest follow suit. I also felt the sweat would be a nice touch.




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Shot 147

This is a fairly simple shot as well. I wanted to get some of the easier shots out of the way while I'm confined to the tablet, now that the fire scenes are done! It's simply Cyrus reacting with confusion to Cain's sudden lack of bloodlust.