PUT YOUR BEARD IN MY MOUTH
#extradirty
Cosimo Galluzzi
wallacepolsom
"I'm Dorothy Gale from Kansas"
ojovivo
trying on a metaphor
occasionally subtle
will byers stan first human second
Today's Document
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taylor price
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Claire Keane
Peter Solarz
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blake kathryn
oozey mess
One Nice Bug Per Day
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@poowherever
Wooo!! This is as much as I could get done for viva, should def be able to finish for the show tho. I tried to finish off with a conclusion so it should at least still feel like a fairly complete story despite having another 20 seconds to go. I’m really happy w how this project went even if I could probably sit adjusting bits of it forever tbh
That shot is incredible ! Would you perhaps consider showing us part of your process ? I just assumed you used 3D for the camera movement, it's amazing.
I shall present thou my process, but consider that it ‘ll be the exact same process as any other animation, it’s basicly like “i did a rough and a tie down, and i cleaned it”.I assume that by asking this, thou wanted to know some “ways” of doing this kind of thing, but sadly i didn’t use any tricks, and i could have of course, but i just felt that if i was trying to find a way to avoid doing it, i would just not be doing it, and the rsult would have not been the one i wanted.
So in order to make this process as interesting as it could possibly be, i’ll try to explain my thought during each steps as much as i can.
So here is the rough, basicly if i recall correctly this was like my third version (i didn’t find the other one) i tried to have here “key moments” and not exactly “key movements”, i tried to define the most importants parts of the curve my camera’s describing. The thing is, i wanted to be sure where to slow down the pacing of my camera, and when to speed it up, and at the same time i wanted to know what the crowd would looks like.
Here’s my kind of tie down, it’s the thing i used in order to do the cleaning later, here, i juste came back to re-define a little better the last part, the fast parts are easier to read and i know where my characters are.Something i also did (and lost by now so i can’t show it) is like a top view map of the crowd, with each character to always help me remember where each one is.
Note that i cleaned and colored the “ghost” first here, as he’s hiding characters, i wanted to know exactly where he would be to avoid unecessary drawings.
And here whe have the final cleaning, here is the part i’ll need to explain the most, because sadly there’s no real “inbetween” before this part and the tie down.
The first thing i did was to clean all the images i already had during the tie down, then i got all the models checked with the character designers Lady Hagdahl Sörebo and Lady Zhang to be absolutly sure that the things i would be inbeetwining would be the exact models (i thought lady Hagdahl Sörebo was going to die during that part).The thing i did at the same time was to define the size of the brush during each “key moments”, you may notice on the gif above that the further away the characters are, the thinner their line is.This is one of the thing that helps achieving this “3D like” aspect, it helps feeling depht in each frames and makes your eyes’s understanding of each characters easier.Once i had my key movements perfectly lined, i started beaking it down, i inbetweened all the images i had, BUT i started to think about each characters’s movement, you may notice it , but the characters are not all totally still, some of them are moving, doing something, for exemple, the xingtiang (the ball-like things with arms who carrys bowl of food) wave their arms and bowl a little as they can’t exactly sustain their weight perfectly.It’s that part that helped creating life in that shot, if the characters had been just standing still, the shot would have felt flat, and a bit life-less.
Once i had all my characters on models, my lines’s size defined, and my characters animation set in stone, i just had to inbetween everything to reach a ratio of 25 frames/1 second, it’s what we call a 1′s exposition in french, i don’t know how to say it in english, but the important part is that it helps your eyes understanding the movement, and in a shot with so many characters, and a movement as fast as this one, it was absolutly necessary to have everything at one, it’s also one of the thing that helps achieving this 3D effect, as we tend to see most of our 2D animation at 2 or 3 and our 3D animation at 1 (or 0.5)
And we’re nearly finished! after that i just colorised the characters, once they were, i was sure of the negative space around them, and were to put the confettis you see on the ground, it’s an other thing that helps defining depth in the shot, a solid ground under the feets of the characters.
And of course once i had everything in place i just had to add the flying confettis! I animated them straight ahead, as i already had my camera movement and my characters it was child’s play to guess the size, the orientation and everything else; it’s like animating in 2D on a 3D scene, thou know exactly where thou are, but it doesn’t have the cons 3D scene have, the space isn’t so big you get lost in it, thou know exactly what’s on screen, and it doesn’t feel dead.
I wanted them to flow through in order to lead the eyes of the audience and to make the whole movement flow more fluently, this way thou don’t look too much at all the characters and thou don’t get lost in the details, because thy eyes are attracted by the colored and bright moving dots through the image.
And that’s it! An other intersting thing about this shot is that i cuted it in 3 parts in order to simplify the tvpaint file.It means this process only cover this part, which is the second one, the others weren’t exactly done the same way, but the process was more interesting for this part, that’s why i didn’t added the others.Hope it’ll help thou in thy journey.
Ember sneeze
wonderful kung fu cartoon
animated movie lines, with a small twist
David O’Reilly (3. Influences)
O’Reilly is an avid collector of influences, trying to learn from everyone he can. He was a big fan of classical artists such as Franscisco Goya, Francis Bacon, Igon Schiele, and Michelangelo when younger, At age 19 he had a big cinema all to himself and would watch and learn from all the films he could, though he was influenced in particular by people like Haneke, Tarkovskij, Bresson, Parajanov, Jodorowsky – as he felt they had a philosophy to their work, and could stimulate his brain in ways it had never been stimulated.
Other than other artists, O’Reilly has lately found inspiration from “very simple things. interactions with people, friends, looking at familiar things and finding the complexity in them. I went through many years of absorbing every kind of art but it’s something I do less and less.”
O’Reilly himself has been a great influence already on the world of animation and games. His distinct style of stripped down graphics and low poly elements has attracted and inspired many to create their own. When he began as an independent 3d animator it was an unheard of profession, but has been slowly growing. The games Mountain and Everything were had extremely different gameplay to most games, and were very popular, pushing the gaming industry to explore more experimental works.
David O’Reilly (2. Creative Works)
David O’Reilly has a distinct style and approach to 3d animation. This is partially because of his viewpoint on animation – he sees it as an incredible thing that lets you break down the forms and behaviors of the natural world, and teaches you to see the world differently (Designboom, 2017).
His aesthetic is of intentionally simple 3d graphics and low poly designs. O’Reilly seems to give care to the fact that the animation is all simply pixels within the computer. He does all his planning and drawing digitally as he feels its much more in harmony with the medium of 3d, and is an early adopter of using glitch effects. He seems intent on making the animation within the frame of its true digital style – which I think is similar to expressionistic painters allowing brush strokes to be seen.
His main body of short films is listed below:
Wofl2106 (2006, 4 mins)
RGB XYZ (2007, 12 mins)
Serial Entropics (2008, 10 mins)
Octocat Adventure (2008, 10 mins)
Please Say Something (2009, 10 mins)
The External World (2010, 17 min)
O’Reilly seems to tackle stories in an interesting way, desiring less to make an actual story and more trying to make a collection of ideas, moments, and themes, that the viewer can interpret into their own narrative. His films are less slapstick than most animation, with dark humour and plots that jump around constantly. The most important element in his quite experimental stories he believes is a sense of empathy for the characters, to tie the viewer into the whole film.
im going to start a thread of pokemon drawn to the sizes of the things theyre based on
here, i’ll start
also this thread is open to anyone
A very small boi enters
@alpha-bread
!!!!! This is Zangoose she’s pointy and I love her
I chose the littlest ones cause the BIG ones were always tadpoles and the little ones were always poliwogs.
A pocket sized boy
David O’Reilly (1. Biography)
Davido O’Reilly was born in 1985, in Kilkenny, Ireland. At age 15 he began working as an assistant at local animation studios and taught himself 3d software during his spare time. His first film called WOFL2106 he made in 2008, which started off his career creating 3d animations with a distinct style.
He has achieved a cult following with his unique and absorbing films such as Please Say Something 2009) and The External World (2010). He has also made many works for clients such as U2, guest directed for Adventure Time, and worked as animation director for scenes in Her (2013). Her is what inspired him to begin working in games. Since then he has released the games Mountain (2014) and Everything (2017).
Please Say Something
The External World
Mountain
Everything
Moth Collective (3. Influences)
The members of Moth have certain similarities that influences and unites their work. Their Royal College of Art works often explored very personal, observational, political, and environmental themes (which is what has aligned Moth with many charitable and environmental clients. They also are all fans of subtle humour, and all have a sensitive and lyrical approach to their storytelling (2015, Creative Review).
Margaux was influenced strongly by Disney films and Goldwyn Mayer Cartoons. She was drawn to animation in particular because of its combining of her two interests – drawing and storytelling. Travelling is also a big influence and inspirer for her. She feels much more creative once she is travelling and surrounded by new things, people, and situations. Margaux also had an architect father who was very passionate about storytelling and characters. Her biggest influence by far is simply her friends, quoting “I think my greatest inspirations are my closest friends. I always admire what they are producing and it is what pushes me to work harder.”
Chester has a book of 1001 films to watch before you die, and so far has watched 240, using it to inspire and fuel his own storytelling and filmmaking. He grew up in a house full of colourful paintings and books from his politically active grandmother – which served to inspire his own passion for art making and the creation of political statements.
Prosser has been heavily influenced and inspired by painters such as David Hockney, Henri Rousseau, and constructivist art. Travelling also always enhances his work with new ideas, themes, and colours.
Moth Collective (2. Creative Works)
Moth brings a distinct style to the various works they’ve produced:
Their works have a certain clean graphic style, and they use fairly simple shapes and colours to add power and distinctness to their animations. Each frame of their animations feels very balanced, well composed, and their use of texture feels very masterful.
Their list of work is numerous but they’ve worked with Facebook, The New York Times, WWF, Headspace, NSPCC, AND XL Recordings. They have a large choice in clients and are able to choose projects that they feel fairly passionate about, so they’ve created a lot of films for environmental organisations and charities.
Their show reel can be seen here.
The three founders Chester, Prosser, and Margaux all have fairly similiar styles and aesthetics, which is why they are able to make such a cohesive team. Prosser’s work below displays this:
Their sense of shape design gives their work a distinct look that feels playful and free, and the graphic design quality lends their animations well for wide and easy viewing, because of their clarity.
Moth Collective (1. Biography)
Moth Collective (Moth) is a 2d animation studio based in the UK, founded in 2010. The studio was set up by animators Daniel Chester, Dave Prosser, and Marie-Margaux Tsakiri-Scanatovits – who met while studying at the Royal College of Art in 2008, and shared many interests.
The three had often ended up in teams while studying at the RCA and enjoyed sharing their work throughout the course. One day shortly before graduation they decided to set up a collective together, as it just made sense to work together.
They are now a multi-award winning studio with a full time team (around 1 – 10 employees) of producers, directors, designers, and problem solvers. Moth strives to create vivid work that retains an intelligent and distinct style. Their clients have comprised of commercial work, editorial pieces, and short films.
Bernardo Britto (3. Influences)
Britto was majorly influenced by John Canemaker, an animator teaching at the Tisch School of Arts. He introduced animation to Britto and helped him become interested in the medium. His influences for his films tends towards his own personal experiences and thoughts as they all are quite introspective and memory based.
His short film “The Places Where We Lived” discusses the large role film has played in his life so he has probably been influenced by a large and varied spectrum of work, and this would mimic his wide, experimental, and varying body of his own work.
