I decided to do a number of 2D animation tests using after effects to try out my ideas for animation styles. This is the first one of a moving 2D layered sea. This is something I am very happy with the aesthetic of.
Hey Nelly - this is lovely to see - good - but I think there's more investigation to be done in terms of really aceing the Pugwash aesthetic: take a look at this screen grab:
... and note all the little visual tics and quirks that make it 'Pugwash' - black outlines (but not always), white outlines for clouds and so on - and also note how the 'cut outs' cast actual shadows - so I think you may need to think about building your flat scenes in Maya, so you can light the layers so that they cast shadows onto themselves (if that makes sense) - if your flat worlds were Maya sets, I think you could get much closer to the Pugwash 'thing' because you could light them and you could also move your camera around more engagingly.
Take a look at this very old animation from our mutual friend, Nat Urwin - from her FV project - I think this holds the key to your flat/not flat approach to expanding these Pugwash spaces into Maya logic in such a way as the charm is maintained but you bring something new to the mix too...
https://vimeo.com/113287848
This was also made by a CAA student for the same project - ages back - but again, all in Maya as flat shapes - because he wanted the control:
https://youtu.be/23TnLEUUnws
So - some things to explore - one, to create a check-list of all the little visual things that make 'Pugwash', including colour picking palettes and keeping within them, and two, to explore the potential of 2D in Maya as it relates to texturing (cardboard, painted surfaces etc) and lighting etc.
I have to say I'm both a little disappointed in myself and feeling better than I did in the last project. Weird huh? Basically, for this first stage I have focused a lot on research, and fully developing my concept before properly diving into drawing it. This has given me a much clearer path than I found myself on in the Invisible Cities project, but has meant that I have ultimately produced fewer thumbnails than I would have liked. I felt like this additional research was necessary to ensure that I wasn't chasing my own tail for a number of days which is how Invisible cities felt at times. So, at this point, although I have less thumbnails right now (more will be uploaded tomorrow), I feel like I am in a much stronger position that I was after the OGR before. OGR1 by Eleanor 'Nelly' Luckett on Scribd More thumbnails tomorrow! Watch this space!!!
Three and five act structures are key devices used in effective storytelling. They give narratives and stories a pleasing base structure upon which the weave the elements to create a unique viewpoint. The Greatest Showman has a clear five act structure used beneath all the songs and showy costumes to make it stand up as a narrative. Act 1 - Childhood We see the challenges that Barnum went through as a child. It shows him as a poor tailor’s son struggling to make ends meet. It shows him meeting Charity for the first time. It also shows his father getting ill and eventually passing away, and how he had to beg on the streets for food. Towards the end of the act we see Barnum heading off to make his fortune on the railways. Act 2 - Attempt One We see Barnum come back a wealthy man to marry Charity. They build a home together and have two daughters. Barnum is working at a trading company, but they all get fired when the company’s flotilla sink. Barnum uses the bonds fo...
Hey Nelly - this is lovely to see - good - but I think there's more investigation to be done in terms of really aceing the Pugwash aesthetic: take a look at this screen grab:
ReplyDeletehttps://www.screendaily.com/news/captain-pugwash-gets-re-boot-as-live-action-movie/5117896.article
... and note all the little visual tics and quirks that make it 'Pugwash' - black outlines (but not always), white outlines for clouds and so on - and also note how the 'cut outs' cast actual shadows - so I think you may need to think about building your flat scenes in Maya, so you can light the layers so that they cast shadows onto themselves (if that makes sense) - if your flat worlds were Maya sets, I think you could get much closer to the Pugwash 'thing' because you could light them and you could also move your camera around more engagingly.
Take a look at this very old animation from our mutual friend, Nat Urwin - from her FV project - I think this holds the key to your flat/not flat approach to expanding these Pugwash spaces into Maya logic in such a way as the charm is maintained but you bring something new to the mix too...
https://vimeo.com/113287848
This was also made by a CAA student for the same project - ages back - but again, all in Maya as flat shapes - because he wanted the control:
https://youtu.be/23TnLEUUnws
So - some things to explore - one, to create a check-list of all the little visual things that make 'Pugwash', including colour picking palettes and keeping within them, and two, to explore the potential of 2D in Maya as it relates to texturing (cardboard, painted surfaces etc) and lighting etc.