From my first year at the NFTS, this is my 'Project Two' film. Project two focused on character development and gave us the chance to work with voice actors for the first time.
The only rules we had was using our character, and someone else's- we have to make them hug. My
character was 'Simon', a Bat with anger management issues... the
character I got was 'Vincent', an elderly Cartographer who is bitter
with the world... not the most likely to hug.
The film is done
completely in Biro (Ball point Pen) on paper (using a light box) Being
in able to make mistakes sped me up- as I only had a few weeks to make
the film. The set up is- Simon and Vincent meet in the canteen of a
community centre. Vincent has been to Calligraphy class, Simon to Anger
My Top animating speed on this
project was 112 Frames (Individual drawings) a day- but I did have to
sellotape the Biro to my hand, due to RSI... I could only keep up
that speed for about 2 days (@_@)
Sand Animation from my first year at the NFTS- Taught by Caroline Leaf.
'Story' is based from my childhood, when I would have a plastic
skellington (insted of Barbie), there was a stream in the next village
me and my brother would paddle in. We would dangle our plastic
skellingtons (Bonies) in the water, pretending they were fishing for us
While I was at the Encounters Festival with Richard, we met up with Ben Mitchell- a writer for an Online animation magazine called Skwigly who wanted to interview us on our grad films (Bertie Crisp and Damned)
So this is the title sequence I created fr the BBC's 'The Mystery of Edwin Drood' Which was first broadcast on the 10th of Jan at 9PM on BBC Two and BBC HD.
The main Idea for it was to convey a journey form London, to a place called Cloisterham in the countryside. Below are some of the first concept for the sequence, as it started out much more 'inky' with blocks of colour to show what was countryside and what was London.
There was much more detail on the buildings as they were drawn in ink, and the coloured ink seeped and spread as the camera tracked across the paper. But the problem with this graphic style was that the camera had to track much slower to give the ink time to draw in the detail and the colour, which heavily reduced the distance that felt travelled- Cloisterham had to feel very far form London.
The lines had to be much more simple- had to feel as though they were racing over a distance. So eventually, they became more and more simple, until all we had were streaks of ink.
We also went back to looking at Victorian ink drawings- we needed to go into detail at either end of the sequence so it was clear that we started in London, and ended in Cloisterham. The camera would have to track slowly/ pause over these drawings to give them time to develop.
One of the main problems we had was the camera movement. The camera doesn't just track from Left to Right, it also tracks back from London, and then tracks into Cloisterham. Theoretically simple, but because this project was fully digital- it meant that we would have to use a plate that quite a lot bigger than HD (@_@) ... and we had quite a few problems getting any computer to cope with it.
In the end, I made a low res plate and animated the camera move over it for reference.
The Victorian Drawings are animated Backwards- Drawn on several layers, I erased them bit by bit per frame. The main Ink lines are animated Frame by frame by duplicating the previous frame, moving it into position, (using the low res reference) and drawing the ink bleeding further.
The main two programmes used for this were Adobe Photoshop, and Adobe After Effects.
Below are some of the final storyboards of the animation, though the zoom, position of the title card and what was cut to at the end were changed during the anamatic stage.
For more information about 'The Mystery of Edwin Drood' please click on the links below: