'A Boy and his Shadow' Minor || Submission

A story of a young boy and an unlikely friendship.

Reflective Statement

During this project, I have gotten a sense of how larger scale animation finds its foundations. I have worked on my management skills by using a timetable, though my work ethic still needs attention. Also I have found parts of the production phase that I have felt comfortable in.

'A Boy and his Shadow' Minor || 3D Modeling the Boy Part 6: Fixing Geometry and Other Things

This is my original mesh, it requires more geometry, but the current structure doesn't allow it because the edge loops aren't going where they need to go. I wasn't aware of this initially until it was brought to my attention. 

This is the face geometry with a wireframe to show the fixes made to the mesh prior to smoothing. The nose resolution has been increased to better suit high quality animation, and other parts have more vertices in order to better support animation. I hadn't realised the knock on effect that the structure had of distorting the smoothed mesh because of all the points with more or less than four edges, so this is definitely something to bring forward from this project. 

'A Boy and his Shadow' Minor || 3D Modeling the Boy Part 5: Summer Progress Update

Over the course of the summer I have made some progress on one of my models, obviously it isn't done, but I will go over some of the developments as to make a record for future reference.

First of all the eyes have been remodeled as to more resemble an actual, albeit enlarged, human eye, which will give me more range of expression. This point is especially important since the animation has a horror aspect which covers a range of emotions.

The eyes were made using an old blender tutorial I used a few years ago called 'Creating Pixar looking eyes in Blender'. The eyelashes have a transparent blinn which can be seen in the viewport for reference while modeling, and has another arnold standard surface for rendering. I attempted a skin texture, but the sub surface scattering has made it look faded.

I think the normal maps for the hoody have worked out pretty well, I haven't done the underside of the hood on purpose so the difference is more obvious. The shoes and socks went through the same process. The oversized aspect of textures lends itself to the model, as it give a sense of scale.

From this point I want to work more on the hair strands at the back of the head, the skin textures, and generally just cleanup everywhere. after that, I'll start skinning everything. At some point i want to start working on the environments, so expect progress updates on that too.

Premise 2018 || 'A Boy and His Shadow' Finalised Storyboards and Drafts

These storyboards are for reference and require improvement that will be applied after the first animatic is finished. Checklist for potential additions:

• Creepy/cute
• An unlikely Friendship
• Introductions
• Repetition Fixes
• Tension
• Monster personality development
• Ending elaboration?

Collaboration 2017 'How to Cheat at a Marathon' Contributions

http://eggoanimations.blogspot.co.uk/2017/12/an-art-of-how-to-cheat-at-marathon.html

Storyboards

Props and Environment

Art Direction









UV Mapping

Character Design Workshop || 'The Shining' Storyboard Exercise

Storyboards are cinematography. Today we studied cinematography by drawing storyboards.

Shaky Cam is an indication of unease, similar to tilted camera angles.
Stanley Kubrick utilises strange shots, almost as if we are disconnected from the situation.

'Shorthand where you can!' in order to give flow to action, attempt to compile into a single frame.
aspect ratio matter to compositions, so remember to draw them shapes correctly.

Fantastic Voyage 'Making of Engine' and Reflective Statement

Fantastic Voyage Storyboards and Final Scripts

Fantastic Voyage || Storyboards and Story Description

My First Rough Draft

Second Iteration (Part1)

(Part 2)

Fantastic Voyage || Current Alignment Character Design edition

Script to Screen 2017 || Final Storyboards