TheCrimsonSins SinbadAndTheFeather Contents Contents. Statement MeetThe Team 1-2 16-19 3-4 Character Design 20-22 Idea Inspiration 5-6 Character Turnaround 23-24 StoryBoard 7-12 Background 13 Inspiration Background 14 Design Asset Inspiration 1 Asset Design ProductionBlog: Animatic: PitchVideo: SWOT diagram 25-26 Scedule Schedule27-28 Pipeline 29-30 http://sinbadandthefeather.tumblr.com/ https://vimeo.com/93097608 https://vimeo.com/93101533 MissionStatement Mission statement for our team We are proud to present to you “The Crimson Sins” entry to the BFX competition. Our Piece is called “Sinbad and The Feather” and is based on the “Crimson Island Script”. Our piece is a feature style animation inspired in design by Persian form. We genuinely believe that we can create something of the calibre of Ringling or Esme. The piece is especially timely considering “Double Negatives” recent decision to bring feature animation of the quality of “Pixar”, “Dreamworks” and “Blue Sky” studio to Britain. It is an exiting time to make something with an extreme cartoon style which of course is also applicable to the game industry. Our intention is to create a comedic short centred around slapstick and physical comedy. By concentrating solely on the physical act of animation we hope to create something that will truly showcase us all as individuals and as a group. We want to take the legend of Sinbad more back towards it’s Iraqi roots by taking inspiration from Persian design. We are therefore making Sinbad of middle eastern ethnicity and creating the assets of the scene inspired by Persian style. http://sinbadandthefeather.tumblr.com/ https://vimeo.com/93097608 As a group we enjoy the cartoony more style based shorts and feel the chunky not photo-realistic styles are of far more interest to us. 15 https://vimeo.com/93101533 2 MeetTheTeam Meet the Crimson Sins Team. SineadOram Our team consists of 5 talented and driven students and graduates from all over the UK. United by our love for style and cartoony animation Sinead Oram and Pablo Parry began the group by designing a chunky arabian world before advertising for like minded people on the BFX facebook page. Joined by firstly Holly our Lead animator, the team was added to by Claire our secondary modeller and generalist and finally we added Daniel to the team who will be out secondary animator and another generalist hope to make a stylish and lively short that screams CARTOON! HollyGee ClaireLarkin DanielSeager My key skills are in 2d and 3d character animation and character design, but I also able to produce storyboards, concept art and traditional art. I like to experiment with a wide range of techniques and materials, my favourites being painting, drawing, collage and photography. I’m a huge fan of folktales and mythology. Its endless wealth of inspiration for my personal work as every culture seems to have a fantastic story. Claire Larkin is currently a second year student studying Computer Animation Arts at Bournemouth University. She is passionate to work on character driven pieces. As a generalist, she loves to explore new skills and refine her skill set. She hopes to put these skills into action through the BFX competition and continue to grow as an artist. AcademicRefrence My passion for animation encompasses games and film and comes from a desire to bring a sense of personality to storytelling and to capture all actions in games. I’ve loved animation since childhood growing up watching the Disney classics over and over, but in recent years began to consider the possibility of pursuing a career in games or animation. My time at University learning more about the fine details of animation in both industries has further fuelled my desire to pursue this career. Requirements: Maya, Pho- Our refrences kindly supplied by our Lecturers. toshop, Corel Painter Requirements: Maya, Nuke, Mudbox/zbrush, Premier Pro Requirements: Maya, Photoshop, Adobe Premier, 3DS Max Character Modeler, Lead PabloParry Genralist, FX, Pablo Parry is a CG Genralist Sinead Oram is graduate who will be tackling the enviof the University of Wales, ronment modelling and setNewport, where she graduting in the scenes. He graduated with a 1:1 in Animation. ated with a first in animation Specialising in Maya she from the University of Wales hopes the BFX competition Newport. He hopes that the will give her the exposure and leverage it takes to enter competition will showcase his skills and lead to full time the CG industry as a junior employment or work expericharacter modeller. ence. She will be acting as the groups lead. Requirements: Maya, CinRequirements: Maya, Cinema 4D,Headus Uv Layout, ema 4D,Headus Uv Layout, Zbrush, Photoshop, After EfZbrush, Photoshop, After Effects, Premier. fects, Premier. Leonie Sharrock Senior Animation Lecture Ba(hons) 01633432967 leonie.sharrock@southwales. ac.uk City Campus University of South Wales Usk Way, Newport NP20 2BP 3 Leonie Sharrock Senior Animation Lecture Ba(hons) 01633432967 leonie.sharrock@southwales. ac.uk City Campus University of South Wales Usk Way, Newport NP20 2BP Animation, Modelling, Generalist CS6, photoshop. Animation Mat Garey Senior Lecture Ba(hons) Paula Callus Ryan Flynn Lecturer Principal Lecturer 023 9284 5477 [email protected] 01202 965865 [email protected] 02083318643 [email protected] Eldon Building, Winston Churchill Avenue, Portsmouth PO1 2DJ Weymouth House W245, Talbot Campus, Fern Barrow, Poole, BH12 5BB Old Royal Naval College, 30 Park Row, London SE10 9LS 4 TheIdea The idea explained. Our piece is based on the script “CRIMSON ISLAND” written by Thomas R Garrett based on the fifth Voyage of Sinbad the sailor . We are concentrating on the first paragraph where the character of Sinbad chases and coverts with an enchanted feather. We have chosen this part of the script to highlight our talents based on character and character animation. Instead of the original script setting the piece on a jetty we are choosing to move the story to a persian style ship to respect the iranian origins of Sinbads story. Another reason is to take advantage of the style of traditional wood carving which will give our cg world subsistence and grounding in reality. Inspirational Sources 1. 2. 3. 4. 5. We chose to look at The style of contre temps Persian design and is beautiful. We enjoy the Islamic carving to style used for the sea and inspire the multiple are keen to imitate its amazing use of light through- wooden objects within the out. The foam on the water is scene. We used persian design as the Sinbad legend particularly enviable. Work that has inspired us. originates from Iran. The style of movement Our biggest inspiration Short film “The Black Meg displays in the of the style of the piece is Water Gospel” by the Disney short “Paperthe game series “Monkey Animation Workshop has man” is what we’d like Island”. We feel the quirky inspired us to use paintand chunky nature of the deerly textures in our piece. They to emulate. How she chases the paper plane is how we’d sign suits an adventure based managed to achieve such a like Sinbad to chase the piece such as ours. style by projecting their texenchanted feather. tures on to flat planes. TheTreatment The treatment and synopses. The film starts with a Persian ship at dusk, gently bobbing on the warm summer breeze. Behind the fishing boat a strange tropical island stands in the water almost in silhouetted as the sun dips below the curling clouds of the horizon. Our hero Sinbad awakes from a nap seen standing and yawning. A strange object floats behind him, it’s a beautiful golden feather. The enchanted Roc feather swoops into his field of vision, Sinbad is mesmerised. He reaches forward tentatively to grab the feather but then overcome with his desire he dives for it but manages to just dizzy himself by getting in a twist. Still without his prize he reaches forward for it but just slams himself into his ships mast. Still utterly determined to nab that feather he runs forward, leaping into the air he pushes with all his might to grab the Roc feather. He catches the feather and is overcome with joy. Suddenly a wave of panic washes over his face. Something isn’t right. He realises in his eagerness to grab the prize he has jumped off his own ship, and in true wallie coyote style looses grip of his feather and plunges off screen into the sea below. SPLASH!! 1 3 Stylistically the piece will be driven and inspired by character. Our piece aims not to be photo realistic but embrace the stylish nature of animation and push strongly forward with the 12 principles. We believe that using Pixar, and Disney for inspiration will push us into striving for the best character animation we can muster. We have chosen to keep the piece looking chunky and painterly throughout. We hope by using painted textures on the assets within scene with thick blocky out lines will help ground the piece in this painted feel. 5 2 4 5 StoryBoard The full Story Board. Persian Ship Bobs on the sea at dusk. Feather swops past the scene. 6 5 Sinbad wakes from his nap. Sinbad leans back relaxed 4 Film title fades into on top of scene. 7 Sinbad wakes from his nap. 10 9 7 3 2 1 Suddenly the feather comes into his eye line Tired and groggy Sinbad yawns. 11 Sinbad wakes from his nap. 8 The feather passes behind Sinbad, he is still unaware of it at the moment. 12 He is mesmerised by the feather. Sinbad tentatively reaches for the feather. 8 StoryBoard The full Story Board. The full Story Board. He steps forward but cant quite catch it. He gets in a tizzy and twists himself in circles. 18 17 He stumbles backwards. 21 In one last ditch attempt to grab the feather he leaps forward. 9 15 14 13 But still the feather has not been caught! 19 Battered and bruised. 22 16 Dizzy after his fall he slams into the ships mast. 20 Now Sinbad is determined! 23 Now Sinbad is determined! 24 The feather is within grabbing distance. He leaps forward and grabs the feather!! His face is full of joy as he realised he’s captured it.. 10 StoryBoard The full Story Board. 25 26 A wash of doubt passes over his face as he realises... 29 27 ...he has leaped off the ship. Sinbad struggles in mid air for a second. 28 Before falling to his watery fate. 30 SPLASH!!! 11 12 Background Inspiration 1. 3. 4. This first image that we have drawn inspiration from is from the french short “Mythologique”. The purple hues are a nice alternative to the stark blues of other interpretations of Initial design scenes dusk. Painterly concept art Another short with an from the ringling short amazing painterly style “Monsterbox” has inand quality of light is spired us to set the “Contre Temps”. This piece at dusk or dawn to get short also has a sea which that beautiful quality of light. we will try to imitate. 2. Although the colours are off from our idea this scene from monkey island has inspired us to mimic its large curling clouds, and rising rocky island. Background Design Initial design scenes 5. “Du Tout Cuit” from the esma animation school is also an inspiration for our backgrounds. As our piece has similar style and setting . 1. This was our first background design In out first iteration of the piece we had decided to set it all at night. Because the night would allow us to have a very purple and blue pallet, meaning we could disperse orange lights around the scene to make an effective layout. However after reviewing multiple short films and mediums we found that the lovely fresh colours of dawn or dusk would be better. 2. This design is created with that amazing lighting quality that only dawn or dusk will bring. We felt setting the piece at a twilight would allow us to play more intimately with different colours and saturations. The feel of the scene here is far nicer and the darkness of the light will make the feathers particle effects shine and glimmer that much more. 3 1 1 4 2 13 2 5 14 Asset Inspiration 1. 2. Initial asset designs. This painted image of This initial image infeathers inspired us to spired the first designs add arabic patterns to we had for our feather. our designs. We believe The enchanted roc a good sense of style and patfeather acts is a secondary character in its own right, so tern is important to reflect arabian design. design was important. 3. 4. 5. Again thinking of the We chose to look at perLooking at islamic patdesign of ancient civilisasian design and islamic terns we have chosen to tions, this ship is Egypcarving to inspire the use rich colours and pattian in origin. We have multiple wooden objects terns to anchor Sinbad in within the scene. We used his Persian origins. This chest chosen to elaborate on this design to create Sinbads ship. persian design as the Sinbad is an example of pattern we legend originates from Iran may use. 3 Asset Design 1. 3. 4. These feathers explore the different colour and pattern designs we could choose for the short. The original Roc feathers are described as being red so we experimented with red and Initial asset designs. gold. In this telescope design we The feather design proexplore the arabic pattern cess began with experimotif once again. As you can menting with all kinds see from the chest on the of shapes designs and left floral pattern is an important patterns to explore as many persian motif worth exploring. design options as we could. 4 4 2 5. 1 1 15 2. This sword was designed in a very chunky style. Though we want to portray Sinbad as more of a pacifist, a lover not a fighter, we couldn’t resist moving forward with the funky bone design. These initial sword designs experiment with shape and theme, whilst incorporating pattern and chunkiness into their design. 5 2 3 5 16 AssetDesign Original asset design models, 17 18 Character Design Asset Design Initial Character Design Initial asset designs. 1. 2. 3. Some more designs Here are some very A wider variety of swords. this time oil and candle quick sketches of objects Taking pirate and arabian based lamps. The dusk we’ll be using to dress styles into consideration I time setting will allow us the scene to create a think we will have a good to fill the scene with lights. lavish, believable world. style to work with. 1 1. The initial design for Sinbad was a captain type person. We started by playing with character colour and palettes. Later we decided that these Sinbads were to hefty to be the action character we wanted. 2. After experimenting with colour we decided that maybe designing a whole medley of pirate style characters then narrowing down the design would be a good idea. We liked moved forward with pirate 2’s design. 1 2 3 19 2 20 Character Design Initial Character Design The character of Sinbad is an imalgamation of many different characters who have inspired us. He is part Tarzan, part Flynn Rider, part Aladin, we felt it important to give him the adventurous scallywag type design to give his wild movement substance and reason. In our early research we found that Sinbad was Persian in origin and we felt that this would be a good opportunity to give the charcter a middle eastern appearance for sake of his legend. This has lead us to Sinbad’s Arabian pirate style with the mischievous and rugged look which suits the inquisitive nature of the piece. 21 22 Character Turnaround Final character design. 23 In this final character design we have solved most of our character design issues. This design of Sinbad is cheeky and active looking enough to portray his adventurous nature and reflect his personality in his looks. Though in the final model we intend for the character to have chunkier dreadlocks, and a larger nose the more over the top characteristics can be included in the modelling stage. 24 Swot Strenghts, weaknesses, oppourtunities, threats.. Strengths Weaknesses -Proven track record of some team -Intense time constraints. members of delivering short films to a -Project could be too over ambitious. deadline. -New team which hasn’t worked to-Complementary skills. gether before. -Experience from multiple universities means diverse range of knowledge as taught in different styles. -Experience of group members range of graduates and students. Opportunities -Opportunity to showcase work to the industry -Opportunities to gain work experience, internships and placements. – A chance to work within a bigger team for a more finished piece. – An opportunity to meet peers who want to enter the animation inudstry, a chance for collaberation with peers. – New professional work to add to showreels. – Opportunity to meet industry professionals and get mentored by them. 25 2 Threats -Technical misshaps like file corruption. -Unused to new work atmosphere -Advanced squah and strech rig required for our desired style of animation. -Stress of working on such a project to a very tight deadline. 26 SceduleGnattChart The Scedule for the 6 week project. 27 28 Pipeline Our pipeline is set up in the traditional manner for a cg character piece. Starting with concept art work at the pre-production stage we move on to our pre production phase which includes the production of the assets and environment. These first two phases are all about design and creating our stylish and constructed world. The third phase of production involves the creation of our piece though animation and Our initial Production Pipeline Initial Concept Script Character Art Style Storyboard Animatic UV’s Development Modelling FX Texture Lighting Animation Rendering Compositing Editing Final Touches 29 Pre-Production Rigging Production Music Folley Post Production 30
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