Nelly Luckett : BA (Hons) Computer Animation Arts, UCA Rochester

After showing some people who were unfamiliar with the project the script, they all expressed that there were a few gaps in the narrative, therefore I have updated the script as below. One note to make is that I have some interactions with the crew in brackets. This is because as of yet I have not decided whether I want additional characters in the crew of the film or not. This will largely depend on how long the rigging and animation process will take for each character. This should become apparent in the upcoming tests. Pugwash Script v3 by Eleanor 'Nelly' Luckett on Scribd

This is the opening scene animatic first draft. The animatic is still very rough at this stage, as I think there will need to be changes to the pacing and other elements before the final animatic. However, please find below the animatic first draft for this section. The last few seconds does look a bit like an animator's nightmare, however this is the intention as it kick starts the daydream sequence. The sequence also currently has no sound. This will be added when piecing it all together later.

We had another moom speed posing task today. I made yet another really difficult choice for myself. This was the image I used and the initial 5 minute pose. Although the pose I put Moom into wasn't necessarily the exact same as the pose, it was better given Moom's limitations. There were a couple of little issues; the hands were too far back to support the upper body. The heels were also at too dramatic of an angle. I corrected these. IK/FK Switch In the main lesson we were learning how to create an IK/FK switch to move between different types of controls in order to allow different types of animation. This required thinking about the controls in different ways. One was using an IK (like an elastic band) and the other was FK (individually controlling joints). We then created an on off switch to control these behaviours, allowing different types of animation to take place in the same model.  This is the skinned model, showing the IK controls and the hierarchy

Pugwash Script v2 by Eleanor 'Nelly' Luckett on Scribd This is the latest version of my script for my final year film. I'm not completely happy with this yet, as I don't feel that it flows too well when written, however I have a suspicion that this is partially due to the way that non-speech scripts look. I am currently working on the animation and hope to have the latest version uploaded by the middle of next week. I am hoping that this will translate better into visual language than it does into written English.

Over the summer I have been trying to find the aesthetic I really want to have for Pugwash. The film needs to be a mix of 2D, 3D and mixed animation media. I intent the film to have a number of different styles throughout the film, with anything that is "real world" being in full 3D animation. I then want the animation to move into more experimental and mixed media as you head into the dream like sequence. For this reason I have been researching other people's animations that use the more experimental techniques to create their style. Original Pugwash animation Of course since this work is based on the original Pugwash series, it was key to do research into the style of both the books and the animated series. The original animation was done with split pins and movable tabs that allowed specific area of the characters and sets to be moved to create the animation, then filmed live.  Pugwash did have an update to it's animation style and method wit

Today we were working on more relationship nodes for rigging, particularly squash and stretch. We started off the session with completing the ribbon spine that we created during the Jet Pack Jones tutorials, however this was never completed as part of this process as it requires a deeper understanding of rigging than we had at that time. This shows the node relationships that are used to create the changes in volume of the torso when it is stretched or squashed. We then moved on to a tutorial that explains how to have knees and elbows work efficiently without using a pole vector to stop them from flipping backwards. This will be very useful for any uncomplicated characters who do not require full rigging as it obviously reduces rigging time, but also animation required for each character in terms of these elements. This is the node network for the custom attribute created to control the knee behaviour. Sadly we didn't have Moom speed posing this week, however I&#

Today was our first Maya class of third year. Where has the time gone! We are going to start off all classes by doing a Moom speed posing task. We are given 5 minutes to pose moom into a position of our choice. He is then assessed as either being fine, needing to go to A&E or being dead, depending on how much his joints are damaged. This is the position I decided to model Moom into. Needless to say I hadn't exactly made this easy for myself, but I did my best within the time constraints. This was the result of my first attempt. He looks ok from a distance, however there are some joint issues. He has broken wrists and a glitch in the skinning over his stomach where the position has become too extreme. So after Alan's feedback I decided to fix the pose, and try and repair all his injuries, and I am much happier with the final result. The main part of the class was based on using multiplication/division nodes to create a squash and stretch beha