Category: FMP

Introduction

This week, I focused on animating Skullchaser’s run cycle, as I categorized it as an A-Shot (High Difficulty) and this sequence is going to appear in several other shots. In addition, I also worked on animating the bat’s flying cycle.

Run Cycle – Animation Process

Animating the Run Cycle

I animated the run cycle on the spot, which means without translating the character on the X axis. This enables me to import the run cycle into different sequences and then adapt the movements according to the scenes.

Animating Towards the Camera

Another thing I learned is that sometimes animators can get away with some issues as long as they are not visible to camera. For instance, Skullchaser’s head is clipping with his helmet, however, since the character will always face towards the camera, the audience will not see it.

Using Studio Library

I learned that a very efficient way of working is to save animations and poses in Studio Library, as it enables animators to implement their saved animations into their different scenes.

Flight Cycle – Animation Process

Animating the Flight Cycle

I animated the flight cycle on the spot to save the animation in Studio Library. Then, I imported it into the different scenes and animated the master controller to create the movements for the bats. Since the rig only had limited joints and controllers, I animated as well some of the vertex points, for instance, in the ears and toes.

Further Comments

Applying Studio Library into my work methodology was essential, as it enabled me to save plenty of time. Finally, it was my first time animating characters on the spot, so I had to pay attention to not animate on the X axis.

Introduction

Before starting to work on my shots, I record reference videos to guide me on how to animate the movement of the characters. It is an essential step to help me identify key poses and breakdowns.

Reference Recordings

What follows next are only some examples of my reference videos. During the course, I learned that it is crucial to:

• Record from a 3/4 angle rather than from a front or side view.
• Record from different perspectives in order to visualize the movement of the character from different angles.

Further Comments

From my personal perspective, recording reference videos can be highly challenging since I sometimes misplace the position of the cameras. Furthermore, it can be difficult to find inspiration on how the character should to move, and therefore, it would be beneficial to work on my acting skills in the future.

On the other hand, it is important to understand that reference videos should only be a guide, and therefore, the animator needs to modify or exaggerate certain poses.

Introduction

This week, I learned that it is highly beneficial to establish a hierarchy in the shots that I need to animate. In this sense, rather than animating chronologically, I can start animating the shots according to their level of difficulty.

Shot Hierarchy

• A Shots: High difficulty.
• B Shots: Medium difficulty.
• C Shots: Low difficulty.

What follows next, are some examples of the shots I will need to animate according to their level of difficulty.

A Shots

B Shots

C Shots

Further Comments

Organizing the shots according to their level of difficulty is a great way of getting an overview of the time I need to spend on each shot. Since the A shots are the most difficult ones, I will need to spend more time animating them. On the other hand, the C shots are the ones where I do not need to spend much time on, as their level of difficulty is lower.

Introduction

After editing the story in the past two weeks, I focused on adapting the previs animation according to the new script. What follows next is the new sequence I decided to include into my animation.

New Previs Adaptation

Villain

New Villain

When it comes to the villain, I wanted the character to be a skeleton since the meaning behind the protagonist’s name [Skullchaser] implies that he goes after skulls. In this sense, the enemy is portrayed as a skeleton, who rides his skeleton horse. In addition, I wanted to present the villain from a low-angle shot to make him seem bigger and stronger.

Resolution

When it comes to the resolution of the animation, Skullchaser distracts the horse by throwing him a stone, which causes the villain to fall and break apart. The resolution of the climax is presented in a quick way as the animation is presented in form of a short episode.

Further Thoughts

From my personal perspective, adding this sequence was highly beneficial, as the plot-twist creates more suspense into the story. Rather than only fighting against the bats, Skullchaser has to face now a major villain in the story.

Introduction

In order to develop the main character of my animation, I decided to use the hero’s journey framework developed by Joseph Campbell. In this sense, Mr. Bones’ journey can be divided into the following twelve stages.

The Hero’s Journey (Mr. Bones)

Act 1: The Ordinary World

The hero of the animation, Mr. Bones, is introduced in his ordinary world, Halloween Town. The establishing shot at the beginning of the animation reveals the context and environment in which the story will unfold and the first scene introduces the main character and his occupation as an agent.

Act 2: The Call to Adventure

Mr. Bones receives a message in his office and is given the mission to save the Golden Pumpkin in order to restore peace to Halloween Town. The telephone call reveals what his purpose is throughout the story, what the main conflict is, while introducing the villain character (whose identity will be revealed at the end of the plot).

Act 3: Refusing the Call

Despite the fact that in some stories the hero may be conflicted in accepting the call to adventure, in my animation the main character has the role of an agent, and therefore, it is his duty to accept the missions he gets.

Act 4: The Mentor

The mentor of my animation is the voice that gives Mr. Bones his mission by the telephone. Not only does it present the main conflict of the story, but also the villain of Halloween Town. In addition, it also guides Mr. Bones regarding where he has to go in order to achieve his mission.

Act 5: The First Threshold

The Journey of Mr. Bones starts as soon as receives the Pumpkin Signal, leaves his office and heads towards the forest to find the Golden Pumpkin (which is the moment of no return). 

Act 6: The Journey

In this part, the protagonist faces some obstacles and enemies which make his mission more challenging.

Act 7: The Final Dungeon

During the chasing and shooting sequences with the bats, one of Mr. Bones’ guns gets stuck, which builds tension in the scene as his life is in great danger. However, he manages to escape and eliminate all the bats on time and find the Golden Pumpkin.

Act 8: The Great Ordeal (Climax)

Nonetheless, a slight plot twist happens by the end of the animation as Mr. Bones gets tricked and ends up trapped in a cage. The identity of the villain is revealed and the protagonist’s is under threat. However, by the end of this sequence, Mr. Bones finally manages to defeat the villain and has control over the situation.

Act 9: The Prize

The prize of my story is the Golden Pumpkin, which is essential to restore peace to Halloween Town. The protagonist’s mission is successfully completed by the end of the story.

Act 10: The Road Home

The animation ends in the same place where it began, in Mr. Bones’ office, emphasizing on the idea that the character has a non-stop workload.

Bibliography

Klug, C. and Lebowitz, J. (2011) Interactive Storytelling for Videogames. Oxford: Elsevier. 

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Introduction

In order to effectively develop the storyline for my short film animation, I decided to use as a reference the ‘Three Act Screenplay Structure’ by Syd Field (2005). This enabled me to revise, expand and polish the narrative structure I had created for my previs animation during the past two terms.

Three Act Screenplay Structure

Act 1: Set-up

According to Field, S. (2005, p. 23) in the first act ‘the screenwriter sets up the story, establishes character, launches the dramatic premise (what the story is about), illustrates the situation (the circumstances surrounding the action), and creates the relationships between the main character and the other characters who inhabit the landscape of his or her world’.

For this reason, it can be argued that the first part of my animation consists of the establishing shot (which sets up the Halloween context and environment where the story will take place), the presentation of the main character (who is Mr. Bones, also known as Pumpkin Chaser) and what mission he has to fulfill (save the Golden Pumpkin to restore peace to Halloween Town).

Act 2: Confrontation

The second act can be defined as the moment in which ‘the main character encounters obstacle after obstacle that keeps him/her from achieving his/her dramatic need, which is defined as what the character wants to win, gain, get, or achieve during the course of the screenplay’ (Field, S., 2005, p. 25).

In this sense, the second act of my story consists of how Mr. Bones has to face some obstacles and enemies in order to find the Golden Pumpkin. This part involves several chasing and shooting scenes with bats which the protagonist has to overcome before finding the Golden Pumpkin in the forest.

Act 3: Resolution

Finally, the third act can be defined as the ‘unit of action that resolves the story’ that not necessarily needs an ending but a solution to the plot (Field, S., 2005, p. 26).

In the third part of my animation, I decided to present the climax of the story. After beating the obstacles and bats, Mr. Bones seems to have found and saved the Golden Pumpkin. However, I decided to create suspense by including a slight plot twist and revealing that he was actually tricked by the antagonist and trapped into a cage. The resolution of my story consists of how the protagonist frees himself by beating the villain and how he finally manages to restore peace into Halloween Town.

Furthermore, I created a circular storytelling structure as the narration ends in the same place where it began after the establishing shot (at Mr. Bones’ office). This highlights the protagonist’s journey and emphasizes how demanding his 24/7 workload is and how vital his presence is in Halloween Town. 

Bibliography

Field, S. (2005) Screenplay : the foundations of screenwriting. 4^th rev. edn. New York: Random House. 

Introduction

What follows next is a brief description of my final major project, the synopsis and the concept I want to communicate.

Final Major Project

Animation Synopsis

Animation Concept

Combining Thesis with FMP Animation

My thesis question is:

How does Tim Burton make use of the grotesque and the uncanny in the characters of his movies to evoke empathy and create an emotional connection with the audience?

Even though my thesis research is focused on the emotional impact the characters have on the audience, I will apply my findings regarding the use of the grotesque and the uncanny in the visual aesthetic of my animation. In this sense, the FMP is a great opportunity to apply the theory and analysis I developed in my research.

Creating a Collaboration Project

Furthermore, I decided to collaborate with a sound artist student from Argentina, as I wanted my FMP to have an unique background music and special sound effects. To do so, I shared them my previs animation so that they had a guideline regarding the timing of the sequences. The idea was that they create a piece that would enhance the storytelling of my animation.