The Prof!

Thank You

2009-06-19T02:53:00.000-07:00

Well we have come to the end. I can't believe it. The project nobody thought could be finished is finished on time. We still can do some more to perfect the film for degree show, and we have to start thinking about what festivals to take the film to, but we finished it. We had some tears during the making of this film, but I hope we had some laughs too.

Firstly I would just like to say a big thank you to the teachers Mike Smith, Mike Hirsch, Kieran, Jared and Dan for all the help guiding the film.

I would like to thank the voice artists John Bell, Kim Crow and Chase Padgett for lending their talents and being understanding. Big thanks to the sound designer James Hodder for doing such an awesome job with the sound design.

I would like to thank Harvey and Mo for helping out when they didn't really need to. I would like to say thank you to my brother Lewis and Neil for helping me out with the film.

Of course a big thank you to my crew. Elisha and Harry did a great job on the background. Al and James, I know we had some problems, but thanks a bunch.

Finally I would like to say a massive thank you to Simon for being the best co-director a guy could have. Thanks pal.

All that is left to say is that I hope everyone likes the film and that we did you guys, we did it.

Shot List

2009-06-19T02:34:00.001-07:00

Here is the Shot List

Shot 1: Susie Opening
Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Body Animation: Alireza Armian
Head Animation: Daryl-Rhys Taylor and Alireza Armian
Colouring and Clean Up: Simon Butler
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Fat Back Bits in Gravy Can Design and Texturing: Simon Butler
Fat Back Bits in Gravy Can Animation: Daryl-Rhys Taylor
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 2: Opening Intro

Intro and Logo Design, Concept and Animation: Sam Harvey
Assistant Animation: Daryl-Rhys Taylor
Compositing, Lighting, Effects and Editing: Simon Butler
Theme Music: Lewis Taylor

Shot 3: Prof Walks In
Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Harrison Ly
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 4: 2nd Year Audience 1

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Director, Cameraman, Mort, Orange Guy and Grey Guy Animation: Daryl-Rhys Taylor
Bean, Bro, Ducky, Dawg, Hat and Pidgy Design and Animation: Lewis Taylor
Baggy, Big Nose and Ted Design and Animation: Neil Pinnock
Colouring and Clean-Up: Daryl-Rhys Taylor and Elisha Watson
Compositing: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler
Shot 5: Prof’s Intro

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Trophy Animation: Daryl-Rhys Taylor
Compositing: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 6: 2nd year Audience 2

Storyboarding: Daryl-Rhys Taylor
Bean, Bro, Ducky, Dawg, Hat and Pidgy Design and Animation: Lewis Taylor
Baggy, Big Nose and Ted Design and Animation: Neil Pinnock
Colouring and Clean Up: Simon Butler
Compositing: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 7: Prof’s Intro Part 2

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Trophy Animation: Daryl-Rhys Taylor
Compositing: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 8: RAM’s Dialogue Shot

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Modelling and Rigging: Mohammed Warsame
Animation: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 9: Bacteria

Character Design: Daryl-Rhys Taylor
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Daryl-Rhys Taylor
Mort’s Mouth Painting: James Milham
Compositing: Daryl-Rhys Taylor
Lighting, Effects and Editing: Simon Butler

Shot 10: RAM’s Dialogue Shot Part 2

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Modelling and Rigging: Mohammed Warsame
Animation: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 11: Prof Realises

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Modelling and Rigging: Mohammed Warsame
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Elisha Watson
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 12: RAM Randomiser

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Modelling and Rigging: Mohammed Warsame
Animation: Daryl-Rhys Taylor
Audience Design: Lewis Taylor and Neil Pinnock
Compositing: Daryl-Rhys Taylor
Lighting, Effects and Editing: Simon Butler
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler

Shot 13: Spotlight

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Spotlight Animation: Daryl-Rhys Taylor
Audience Design: Lewis Taylor and Neil Pinnock
Compositing: Daryl-Rhys Taylor
Lighting, Effects and Editing: Simon Butler
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler

Shot 14: RAM Randomiser Part 2

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Modelling and Rigging: Mohammed Warsame
Animation: Daryl-Rhys Taylor
Audience Design: Lewis Taylor and Neil Pinnock
Compositing: Daryl-Rhys Taylor
Lighting, Effects and Editing: Simon Butler
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler

Shot 15: Mort in Audience

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Elisha Watson
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 16: Banana

Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Daryl-Rhys Taylor
Compositing: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Lighting, Effects and Editing: Simon Butler

Shot 17: Rushed into Chair

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Chair Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Harrison Ly
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 18: Prof Gloves Scene

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Simon Butler
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 19: Inside of Mort’s Mouth

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Mort’s Mouth Image Painting: James Milham
Fly Animation: Daryl-Rhys Taylor
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 20: Fascinating

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Harrison Ly and Elisha Watson
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 21: 2nd year Audience 3

Storyboarding: Daryl-Rhys Taylor
Bean, Bro, Ducky, Dawg, Hat and Pidgy Design and Animation: Lewis Taylor
Baggy, Big Nose and Ted Design and Animation: Neil Pinnock
Colouring and Clean-Up: Daryl-Rhys Taylor
Compositing: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 22: Started

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Harrison Ly and Elisha Watson
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 23: Prof Pulls Tooth

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: James Milham
Colouring and Clean Up: James Milham
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 24: Mort’s Tooth Pulled

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Drawings: James Milham
Flash Animation: Daryl-Rhys Taylor
Colouring and Clean-Up: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 25: Smashing Light

Light Animation: Daryl-Rhys Taylor
Compositing: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Lighting, Effects and Editing: Simon Butler

Shot 26: Light Hit

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: James Milham
Colouring and Clean Up: James Milham
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 27: Mort’s Pain

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Drawings: James Milham
Flash Animation: Daryl-Rhys Taylor
Colouring and Clean-Up: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 28: Head Inflation

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 29: 2nd Year Audience 4

Character Design: Daryl-Rhys Taylor
Storyboarding: Daryl-Rhys Taylor
Director and Cameraman Animation: Daryl-Rhys Taylor
Bean, Bro, Ducky, Dawg, Hat and Pidgy Design and Animation: Lewis Taylor
Baggy, Big Nose and Ted Design and Animation: Neil Pinnock
Colouring and Clean-Up: Daryl-Rhys Taylor and Elisha Watson
Compositing: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 30: RAM Shocked Gets Susie

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Modelling and Rigging: Mohammed Warsame
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 31: Competent
Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Harrison Ly
Modelling and Rigging: Mohammed Warsame
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 32: RAM carries Susie

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Elisha Watson
Modelling and Rigging: Mohammed Warsame
After-effects Animation: Simon Butler
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 33: Fat Back Medical Treatment

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Body Animation: Alireza Armian
Head Animation: Daryl-Rhys Taylor and Alireza Armian
Colouring and Clean Up: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Fat Back Bits in Gravy Can Design and Texturing: Simon Butler
Fat Back Bits in Gravy Can Animation: Daryl-Rhys Taylor
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 34: 2nd Year Audience 05

Storyboarding: Daryl-Rhys Taylor
Bean, Bro, Ducky, Dawg, Hat and Pidgy Design and Animation: Lewis Taylor
Baggy, Big Nose and Ted Design and Animation: Neil Pinnock
Colouring and Clean-Up: Daryl-Rhys Taylor
Compositing: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 35: Head Deflation

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Harrison Ly
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Fat Back Bits in Gravy Can Design and Texturing: Simon Butler
Fat Back Bits in Gravy Can Animation: Daryl-Rhys Taylor
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 36: Prof’s Goodbye

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Modelling and Rigging: Mohammed Warsame
Colouring and Clean Up: Daryl-Rhys Taylor and Elisha Watson
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 37: Ending Pan Out

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Compositing: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler

Shot 38: Final Credits

Intro and Logo Design, Concept and Animation: Sam Harvey
Compositing, Lighting, Effects and Editing: Simon Butler
Theme Music: Lewis Taylor

Shot 39: Susie Ending

Character Design: Daryl-Rhys Taylor
Colour Design: James Milham
Storyboarding: Daryl-Rhys Taylor
Animation: Daryl-Rhys Taylor
Colouring and Clean Up: Daryl-Rhys Taylor
Dentist Room, Audience, Sound Booth, Cameras, Lights and Director’s Chair Design and Modelled by Elisha Watson.
Relaxing Room and Stage designed, modelled and lighting by Harrison Ly
Background Texturing: Elisha Watson, Harrison Ly and Simon Butler
Compositing, Lighting, Effects and Editing: Simon Butler
Fat Back Bits in Gravy Can Design and Texturing: Simon Butler
Fat Back Bits in Gravy Can Animation: Daryl-Rhys Taylor
Compositing, Lighting, Effects and Editing: Simon Butler

Importing of Blogs

2009-06-17T03:57:00.000-07:00

A little tip for copying the posts into your personal blogs.

Go to this blogs settings tab on your dashboard and click export blog.

Save it to your desktop.

Go to your personal blogs setting tab, click import blog.

Upload the saved blog and there you go.

Good Luck!

New Version of Film

2009-06-17T03:26:00.000-07:00

Here is the latest version of the film. It just needs to be doubled checked that everything is ok and rendered finally for submission for Friday. It still could use some cleaning up for the degree show but it's good enough for submission.

Progress Report

2009-06-13T04:38:00.000-07:00

Hi,

Here is just another post explaining what has gone on the last few days and what hopefully will be going on until the deadline of Friday. First of all, I must give full praise to the sound guy James. He has done an amazing job with the sound. In fact he did such a good job that when we look at the previous copy of the film I realised the most of my edits weren't necessary. We did go away and cut down one scene, added a puff of smoke and added a TV switching off at the end. I felt that it ended the film quite nicely. I tried to do this pan, but it was just proving to difficult to do in Aftereffects, so we decided just to cut to single shots.

Hopefully, Simon will get a finished cut of the film done by early next week and hen we can spend the rest of the week cleaning up the film.

New Version of Film

2009-06-11T08:14:00.000-07:00

Here is another version of the film. I have tried to fix some of the problems that arose in the previous version. It still needs finessing a tad.

6 Final Renders

2009-06-11T01:56:00.000-07:00

Here are the six final Renders.

Thoughts and impressions of the first draft of the film

2009-06-10T04:21:00.000-07:00

After reviewing the first draft with a number of people, some issues have come to light. There are the obvious ones that we were aware of, the lack of a television set, the blank part were James image was to go, the lack of sound in one part and the flickering light.

However a number of other issues have come up also. Firstly there are a lot of places where the characters are just frozen that I think needs to be cut. Other parts characters are moving a bi too slowly. When the prof runs off during the competent scene people get confused, we need a puff of smoke or something in there. We will have to do a proper reverse pan for the end and put the audience members in the shot. The teeth are just too gross for some people and I think may need to be corrected. Simon wants to change the textures in the background, so they are more cartoony. James didn't animated the prof's hand moving when he examines Mort's tooth so that will need to be corrected.

The biggest issue is that people get confused in the audience selection scene. I was hoping that with the sound effects and a proper spot light it would work, but as Simon points out their is no emotional resonance with Mort as we have not met him until this point in the film. We could cut to a shot of him before to establish him which is good filmic language, but would they do that in a studio. Simon suggests doing a pan of the audience but that might be tricky.

Draft Version of Film

2009-06-09T05:26:00.000-07:00

Here is the Draft Version of the film. We have sent it to the James the sound guy. We we working till 19:00 last night to finish it. It needs some tweaking but otherwise I'm happy.

A Tutorial about Flash

2009-06-03T06:27:00.000-07:00

A tutorial about Flash I found on http://www.cartoonsolutions.com/store/catalog/Editing-Multiple-Frames-of-Animation-sp-77.html

Editing Multiple Frames of Animation

Successfully move, scale or alter multiple frames of animation together.Have you ever finished animating something only to decide that you need to change it's placement on the stage or size on the screen? You may have tried selecting all of the frames on that layer and moved the first frame, hoping that the remaining frames in the layer would also move with it, only to find out that you have only moved the first key frame and nothing else.
The good news is that yes, you can move all of the frames at the same time, you just need to use the "Edit Multiple Frames" feature so that Flash will understand that you want to alter more than just one frame.
Let's take a look at a sample project where we want to scale up the animation on the character layer:
Look at the onion skinning features and you'll see on the far right of them two boxes that are both colored in. This is the "Edit Multiple Frames" feature and is what you want click on to activate.

This feature operates just like the "Onion Skinning" feature. Place your timeline marker in the middle of your animated frames and pull the handles out so that they encompass all of the animation that you wish to alter.

Once the handles are pulled out in the timeline, you should be able to see all of your key frames at once on the stage.

It is important to lock any layers that you do not want to alter or change. In this case, we will lock the 'background' layer so that it doesn't accidentally get selected.

Next you have to select all of the art on the stage. You can do this by either 'selecting all' (hotkey "Control"+"A") or by dragging over all of the art with the Arrow (V) tool. DON'T FORGET THIS STEP!

With all of the art selected, we'll use the "Free Transform" tool by pressing the "Q" keyboard shortcut, and pull on the corner handles to scale all of the art up at the same time.

You can do more than just scale or move the art, you can also apply filters to all of the symbols at the same time.

In this example we will also select "Tint" from the "Properties Bar" and choose a color to tint all of the symbols at the same time.

When you are finished, simply turn off the "Edit Multiple Frames" feature by clicking on it. You have now successfully edited multiple frames of animation!

IMPORTANT NOTE:You can use the "Edit Multiple Frames" feature on more than one layer at a time! You can use it on as many layers as you like. Just remember that if there are layers that you don't want to move, either lock those layers, or temporarily turn off their visibility so that they are not included when you edit the other frames.

Fat Back Bits Can in Maya

2009-06-03T02:15:00.000-07:00

Here is the can of Fat Back Bits in Gravy that Simon designed and UV textured in Maya.

New Production Schedule

2009-05-31T03:43:00.000-07:00

Sorry for not updating the production schedule recently. This shedule now has all the completed sections removed as there was a lot of it. (Hooray for completing tasks!)

It now shows everything we have to do starting next week till hand in. This also includes the remaining inking that Al and James did not complete.

As shown, myself and Daryl must try to complete the inking that Ali was meant to do by Monday and James is also giving his scenes a go for Monday too.

It is a shame that James did not contact us sooner, especially considering he was having difficulties using the programs (even with my tutorial). Although I am confident that he will have a lot done for Monday. I showed him, a second time, how to use the programs on Friday and he showed good progress by completing a few keyframes that day.

Good luck everyone. Remember the tutorial should still be up (look down this page for link) otherwise contact me and i'll send you the tutorial or help you out myself.

Current Progress

2009-05-29T08:53:00.000-07:00

Well, would you like the good news or the bad news first.

The good news is that Simon and I have completed inking and colouring in the 2nd year frames. We have also done a lot of the 2D artwork for the film, such as Simon's great FatBack Bits in Gravy can (with Snubbs the pig supplied by Lewis) and extra little bits of simple animation in Flash, using Tweens.

The bad news is that Al and James have not completed the inking and colouring on their scenes. This is a great disappointment as now we have to rush covering their scenes. Simon again showed James how to do the inking, and James has promised us that he will get it done for Monday. He did at least start it today.

In other news, we have to get two images in two different sizes handed in for the 5th June and for the 12th June, 6 final film renders, 20 plus images of pr-production and production artwork and any other personal work you might want to show at the degree show. This as well as completing the film.

Tutorial up

2009-05-27T12:51:00.000-07:00

http://www.woofiles.com/dl-192940-Uo7jHp2V-TutorialFlashInking.pdf

I created a tutorial for inking in Flash if anyone needs it. I tried to list everything from how to do it, and solving potential problems.

Production Schedule Update

2009-05-26T16:22:00.000-07:00

Update On Production Schedule. I will try to update this bi-weekly. This is so that we can keep track with everyone's progress within the middle and end of the weeks to come. This is so it is easier to spot when people are falling behind schedule.

For example you can all see that I am infact behind slightly already (due to working on Anja's group at the moment). I would like to see Al's and James' progress though please as I haven't heard from either of you and I cannot get hold of you.

As the production schedules show all inking must be done by the end of the week so please let me know how it is going so we know whether you need help etc.

I will be uploading a tutorial on the basics of inking in flash. I know it is late but if you need it that badly at least it will be here.

Newer production Schedule

2009-05-20T05:58:00.001-07:00

Ok Elisha, now you have no excuse :P

Current progress

2009-05-20T01:39:00.000-07:00

This is just a post to tell you about the current progress.

After a heated discussion I helped Al finish his animation on time. All inking and colouring must be completed by the end of next week. Also all still artwork must be completed soon.

Lewis and Neil have completed their audience animations for inking. Simon had tried a wide variety of different lighting tests and we found that one TV, the footage straight works best. We are going to try blurring out the background.

We noticed that behind the set it is a bit bare, so we are going to model a tree and a curtain. It's a studio in a swamp so in my mind they would have built it around a big tree.

Sam did an awesome intro and credits sequence with camera pans and effects. Unfortunately, it's too awesome, it looks snazzier than the film. The credits are fine though and I still like the pan in through the letter. Simon had the idea of having the logo in Black and white on a fuzzy TV and as you go through the letter it closes up on the TV and goes to colour.

Maybe we could work something out.

That's it for now.

New and possibly only production schedule!!!

2009-05-19T06:33:00.000-07:00

Here's the the production schedule for the rest of term. It's near the end people, so follow the schedule and we should be fine. :)

It will be updated when we have more information. You'll all be told/asked what you can do though so don't worry, no ones name will be put next to any task without them knowing :)

Simon Compositing Test

2009-05-16T10:03:00.000-07:00

Simon has done some compositing test with the characters on the background in aftereffects. I like the idea of fading out the background a bit more like this shot from Metal Gear Solid 4.

I was also thinking maybe we should put some effects on it to make it look older, like it being shown on a crappy sixties colour television.

Good job Simon!

Current Progress

2009-05-13T04:58:00.000-07:00

Hi Guys,

This is just to say what has got to be done. We are entering the fourth week of this term and time is catching up to us. We have got to get some images ready for the D&AD showcase for the 22nd May and the animation brochure for Sam. We also have to set up a website as well. Oh and we have to start looking at film festivals.

All animation must be done by Thursday, that means James and Al.

OK.

Let's finish this thing!

Update

2009-05-07T05:29:00.001-07:00

This is just an update to say what is going on.

Firstly, Simon, Harry, Elisha are working hard inking up the frames. Well done inking crew, keep at it.

Al has progressed with his animation. He has till Monday 11Th May to finish it.

James is struggling so I have taken the Banana speech scene off of him. James also has to get it done for next week.

Well off to animating. Bye!

Updated Animatic

2009-04-28T03:28:00.000-07:00

After having discussions with Dan and the group yesterday a difficult decision had to be made. Due to circumstances involving the delay in work, and the possible upcoming situation that I may have to cover this work, the scene with the professor's introduction has been cut down by more than half. Even though I really like this sequence and I am sad to see it go, we just can't physically animate 33 seconds for this one sequence in time. I have also added sound effects for the audience bits and the new theme song. The film might technically be longer now, but that is only because the credits are now longer.

Current Progress

2009-04-26T06:03:00.000-07:00

As Simon and I discovered tracing every image again in Flash was just not practical, so we decided that it would be quicker for me to ink over every frame and use Illustrator's Live trace. That's is what I am doing now.

Elisha and Harry have finished the Background. Our second years Lewis and Neil have come up with some great character designs and Al and James are (hopefully) progressing nicely with their scenes.

Good job!

Introducing

2009-04-24T04:36:00.000-07:00

This is just to introduce are two new teammates, Lewis Taylor and Neil Pinnock. These two Second years have agreed to help out with the project. Many thanks to them. 10 seconds of animation total in length should be fine.

Research

2009-04-22T07:10:00.000-07:00

For faster speed we are using the Live Trace function to trace the drawings. It gives it a Ed, Edd n Eddy feel.

Tutorial for Illustrator

2009-04-22T06:42:00.000-07:00

http://edutechwiki.unige.ch/en/Flash_bitmap_tracing_tutorial

Tracing a bitmap with Illustrator

Step1 - Trace the bitmap

Illustrator CS3 has more sophisticated bitmaps tracing features. Here is a very short example that includes a shape tween:

Open the picture in Illustrator
Select it
Now you will have a "Live Trace button" on the control panel on top
Next to it is a little pulldown menu from which you can select various options, for a portrait you may choose "Color 16"

Live tracing with IllustratorCS3

Once you hit the trace button, the controls on top will change and you can play with all sorts tracing methods and parameters

Live tracing controls with IllustratorCS3

Step2 - Import to Flash

Copy/paste if from Illustrator with the options: Paste using AI File Importer preferences and untick maintain layers
You may adjust the size of the stage to the size of the picture somewhat, I chose to add some big margins for a reason you will see later.
Convert it to a symbol (so that you have a copy in the library)

Step 3 - Break it Apart

Then right-click->Break Apart
You have to do this several times, since illustrator produced object groups within object groups (use ctrl-Z if you think you went too far).

Step 4 - Create a new keyframe

Right-click on frame 20 and hit F6 to create a new keyframe with the same picture.

Step 5 - Distort the picture in keyframe 1

Try everything you can

Select parts and change the color with the paint bucket. That's actually the only thing I did
You also can move parts, but probably you then should start with a much simple ray trace.
Distort parts with the Selection Tool, the Subselection tool and the Free Transform tool

Step 6 - Add a shape tween between the two frames

... enjoy

Tune

You also may at the very end (after the last keyframe) insert the original jpg picture. Tracing bitmaps is a very difficult issue, since there are many kinds of algorithms you can select from.

Basically the machine must be told how to group similar pixels together into a vector objects. For example, an algorithm can group together pixels with similar brightness, similar color, or try to find lines from similar pixels.

Publish

In the HTML setting you probably want to take off the "loop" option

You can admire the result

Files: flash-cs3-shape-picture-morphing.*)

Directory: http://tecfa.unige.ch/guides/flash/ex/shape-tweening-intro/

Updated Animatic

2009-04-18T07:35:00.000-07:00

I've updated the animatic with my pencil tests and Sam's Logo. I've also tried to add more shots of the audience like Mike and Dan suggested. Timing may need to be worked out.

Theme Music

2009-04-18T06:55:00.000-07:00

Here is the theme music. I wanted this chicken-picking country feel to it. I like it. My brother Lewis wrote the music.

Research

2009-04-13T09:20:00.000-07:00

Here are some videos from YouTube I thought I put up for Research.

This episode of Dexter's Laboratory has a sound effect I really like.

This shows Dexter zipping around the lab is useful for research.

This I just really like.

Sam's Test

2009-04-01T03:16:00.000-07:00

Sam did a test for the logo. I think it really works. Now to find some appropriate music to go with it.

Sam's Logo Design

2009-03-27T04:29:00.000-07:00

Sam done a great logo and is going to try a test. I say well done and I can't wait to see it.

Sam Harvey's Logo designs

2009-03-23T03:51:00.001-07:00

Sam did these quick logo designs. I really like the idea of having the two fonts combined. I think the one on the bottom left really works. Thanks Sam.

Commenting on the Progress Presentation

2009-03-20T10:23:00.000-07:00

It was a bit strange today, Mike basically said

a) we should intersperse it with adverts, but it's really short.
b) involve the audience more, will be hard
c) have more dynamic camera angles, but it's a TV show.

Sam tells me that we have to get a website and definitely a title by the end of the weekend.

Research

Animaniacs

Johnathan Ross

Production Schedule

2009-03-19T04:47:00.001-07:00

Here is the new production schedule. We have to get all the backgrounds, rough animation and most of the clean up and colour done by the beginning of the summer term.

Final Animatic with sound

2009-03-18T11:08:00.001-07:00

We have the final animatic with sound. James (the sound guy) did a great job!

Thanks guys.

2009-03-18T10:50:00.001-07:00

Hey guys I just want to say thanks for being s great team and getting on with the work. Thanks.

Here is a present to inspire you. It's one of my favourite cartoons when I was a kid.

Update

2009-03-09T10:49:00.000-07:00

Just an update of the things that need to be done.

1. James the sound guy needs to send us back the animatic with sound
2. James and Al, I need to see your animations
3. Al, you, Simon and I have to work on a new production schedule for next term
4. Elisha and Harry, I need to see all your work for the backgrounds.
5. Simon needs to help me colour in some frames

That way we can all get ready for the presentation. Meanwhile, I'm just going to start some other animations. OK everybody?

Logos, Websites and Marketing

2009-03-03T03:12:00.000-08:00

I just talked to Sam and he says we need to start fundraising and designing a Logo, Website and figure out the branding and marketing. Al, I believe that's your job. Any Ideas guys?

Mike Smith gave me some pdfs files on Toon Boom. I'll give them a read.

Just a update

2009-02-27T08:55:00.000-08:00

Firstly, I would just like to say that I think the project is going well, especially considering all of the dissertation work. Everyone is posting good things on their blogs. Just a couple of things.

Firstly I would like to see everyone's work the last week of term so we can prepare for the presentation to Mike.

Secondly, over easter we need all backgrounds completed and all rough animation must be done.

If not we won't get the project completed.

Okay guys.

Let's get our dissertations over with.

Brand New Completely Final Animatic

2009-02-11T07:15:00.000-08:00

Well, here it is. Finally the final version of the story. All it needs now is the music and sound effects. Hopefully our sound guy James (aka Jason) can do that for us. Actually, I think all that work paid off. It's much snappier now and it flows much better than before. Great work Smiling' Simon, for getting this done.

Changes to Script

2009-02-09T07:46:00.000-08:00

Hi,

Well Mike had a look at the film last week and had lots of nice things to say about it which is good. His one comment was he got a bit confused as to what was on camera and what was off camera. The thing is it's all on camera, the viewer is supposed to be the audience watching it at home on their TV sets, just as they actually would be. He suggested overcoming this issue by having camera men working cameras, out of focusing and slight camera shakes. He also suggested something at the start just to fully indicate to the audience, so I came up with the idea of using a movie clapper board.
Looking at the script again, I have had feelings about it. Considering that it has taken me about a week to animate one 10 second scene, I am now fretting over the length. Will we be able to get this done in time. Considering this, I have gone in with a axe and chopped out anything that is not absolutely necessary. This usually resulted in bits of lines of dialogue going, however it did result in the entire disappearance of the scene where he describes the dental tools. I'm sad to see it go but I'm really worried here. Anyway here is the new script.

Script 09/02/2009

Movie Clapper Board.

Focuses In

Susie-May: Live from the Deep South of America. Brought to you by Aunt Marcie’s (Fatback Bits in Gravy). It’s The Professor!

Camera pans back revealing studio

Audience: Clap! Clap!

Title fades in

Prof: Howdy! Welcome to the show! Woops!

Prof knocks award of shelf.

Man in audience laughs

Prof: You know I keep knocking over this award I won at university for my thesis on the advanced growth of bananas. And this got me thinking…people slip on bananas. And what’s the opposite of slipping, sticking, yes. What do people step on that’s sticky, gum, gum, chewing gum. Thinking about gum, gums, we have gums in our mouths. Which is why today’s topic is dentistry. Whilst I get ready R.A.M why don't you tell the folks at home more about teeth.

R.A.M: Glad to Prof! Teeth are loose bones held to the jaw by soft tissue known as gums. When bacteria enter the gum line it eats away causing diseases.

Bacteria: heh heh heh!

R.A.M: So that's why it is very important to brush and floss your teeth.

Prof realises he needs help from audience

Prof: R.A.M

R.A.M initiates picture generator.

Lights flash over audience.

Stops on Mort.

Mort in first row eating a banana.

Prof grabs Mort.

Mort drops banana.

Mort gets rushed into chair.

Prof: Studying at university I witnessed many dental procedures. I can’t believe I’m doing my first one. Open Wide!

Mort: Hmmmmpfff!

Prof: Look at all these gingivitis filled gums… Isn’t that fascinating! Now let's get started.

Click, Click.

Prof: Hmmm having a bit of trouble here. Maybe if I pull a little. GULP!

Mort’s Tooth pings out

Ram: GASP!

Light falls down on Professor’s head.

Mort’s head swells up!

Mort: EEEE!

R.A.M jumps down, hops over to get Susie

Prof: Don’t worry it’s all part of the procedure I’m competent

RAM brings Susie back

Susie-May: Don’t worry because Aunt Marcie’s (Fatback Bits in Gravy) is not only a tasty snack, it is also an all purpose medical treatment.

Mort’s head swells back down.

Prof: Well we have come to the end of our show see you next time science seekers.

Prof slips on banana peel.

Camera pans out over audience.

Fades to credit sequence-showing stills from other episodes.

Susie-May: This episode was brought to you by Aunt Marcie’s (Fatback Bits in Gravy). Come all back now you here!

Re-working Story

2009-01-28T03:40:00.000-08:00

Yesterday we had to re-work the story again. Kieron felt that it was too big and didn't make sense. So we've shortened it down and moved some scenes around. The problem is new scenes will have to be created for story sense, but I really don't want to bother the voice artists for more dialogue. I'm going to have to be clever about this. This has to be the final time, we need it stable to move into production as soon as possible.

Progress Report

2009-01-24T09:14:00.000-08:00

Just a little note on the progress of the film.

1. Mo has finished the R.A.M model and it looks and works great. Super job. Animating with him can start right away.

2. Both John Bell and Kim Crow have e-mailed me their re-recordings. Their great and I am super-pleased. Haven't heard any reply from Chase Padgett though, but he didn't need to re-record.

The scenes were divided up and Mike Smith has suggested that we each take one scene to practice and take it right through the production process to the end. We better get to it then.

New Production Schedule

2009-01-20T07:17:00.001-08:00

Here's the new production schedule made by Al and Daryl. If we get all the rough animation done by the end of this term, we should be o.k.

Mo Rigging R.A.M

2009-01-20T04:09:00.000-08:00

Mo has done a great job modelling R.A.M. The pictures on his blog are so cool. Unfortunately, I can't seem to open it in Maya 8.5. We've have dished up the scenes today and all the animators are going to go off and practice a scene.

Productions a Go!

2009-01-18T05:44:00.000-08:00

Okay guys. Let's start actually making this thing. Al, we need to figure out a new production schedule.

See you Monday

2009-01-06T02:52:00.000-08:00

See you Monday guys. We have got to decide a voice. That's the first thing to do.

Mo's Rigging R.A.M

2008-12-22T06:49:00.000-08:00

Mo's done a great blog of him rigging and modelling R.A.M. I'ts just so great. Thanks Mo.

Here's the link.

http://rigging-ram.blogspot.com/

Susie Voice Auditions

2008-12-19T06:22:00.000-08:00

More Susie Voice Audtitions

What do you guys think!

Susie- Voice

2008-12-14T04:19:00.000-08:00

This is an audition by a lady called Kim Crow for Susie. What do you think? Did I mention she will do it for free!

More Voices and Payment

2008-12-13T03:53:00.000-08:00

More Voices from Voice123. Oh, and that guy wants $200.

VOICE PROBLEM URGENT!!!!!

2008-12-12T03:13:00.000-08:00

I have a problem. I signed up to a website called www.voice123.com, which is the website Mo used to get his narrator, and posted up the project on there. I then sent out invitations to audition for the project to loads of people, and three have already replied back. So will have to decide and I can't decide. I don't want to tell people no. And worse still, someone has actually gone and already recorded the Professor for us and he is expecting to be paid but he hasn't said how much.

Oh I'm in over my head here.

Voices

2008-12-10T03:03:00.000-08:00

I have posted the project on www.voice123.com under the title of "The Fantastical Escapades of the Professor". Let's hope we get something out of it.

Animation techniques from Spongebob Squarepants

2008-12-08T03:58:00.000-08:00

Here are some animating tips and techniques I found on the Internet. This model sheet of Mickey I just like, I think it has really strong poses and shows construction.
These are actual tips and techniques guide by Spongebob Artists that I obtained from a blog called Cartoon Snap. Where he got them from I don't know but they are excellent.

Voice Actor Research

2008-12-07T09:24:00.000-08:00

Hi everyone.

I've been researching and trying to contact a lot of different voice actors today. I just hope they reply and agree to do it. A lot have come from a website called http://www.voiceactors.com/ or just from youtube. Here are some of the reels I found, I want to know what you guys think of them.

Poitr

Josh Thompson

Josh Mondelli

Assortment of reels from www.voiceactors.com

Congratulations to all.

2008-12-06T09:29:00.000-08:00

Congratulations to all.

I just want to say I think yesterday went really well and that every ones done a good job so far. We've got more work to do over the holidays but I'm really pleased.

Well done and Merry Christmas.

The Group

2008-12-04T07:56:00.001-08:00

Production Schedule

2008-12-04T06:55:00.000-08:00

Here is the new production schedule created by Al for the entire year. All group members shouls have a look at it. We have a big job ahead.

Animatic and Blockout

2008-12-03T09:53:00.000-08:00

We just got the animatic back from Jason. He did a great job. It really adds to the action.

From this we made a block out. I drew up some key poses and inked them in. Simon and Elisha then put them on planes and put them in the background. It should give an idea of what it may look like.

Now we just have to prepare for the presentation and submission on Friday.

Idea and Research

2008-12-03T09:38:00.000-08:00

In order to help we animation and resizing up the background I decided to model some dummy models of each of the characters to use as reference, just like the do on actual productions.

Harrison suggest we actually split the renders up into different layers to make it easier for composting. That's a good idea.

I've also got some video reference of Stitch, for four arm animation.

Lot's of Christmas work to do.

Group Block out

2008-12-03T09:33:00.000-08:00

Daryl's group got together and developed an animatic:

Daryl-did the storyboards and drawn characters
Harrison-Lighting on the block out
Simon-Storyboard Animatic, Block out animatic, camera angles, rendering, cutting up characters and editing sound/animatics.
Elisha/me-The whole Environment block out, coloured Lambert's, cutting up characters and helped with Animatic block out and rendering.
Al-voice recordings

Voices done by Daryl, Elisha, Simon and Al and sounds by a sounds designer student.

Current progress

2008-12-01T08:35:00.000-08:00

Update:

Currently right this second we are working on a block-out. This means we are taking the 2D images and put them other rendered out footage of the 3D backgrounds.

It is taking much longer than I thought.

Coloured Environment and Lighted Block-Out

2008-12-01T06:41:00.000-08:00

Elisha's coloured block-out and Harrison did the lights to improve the environment:

Notice to all Group Members

2008-11-30T04:33:00.000-08:00

Just a quick note to Al, Simon, Harry, James, Tony and Elisha.

I am very pleased with the work that has been done. I get excited evrytime you guys show me something. Thanks.

We're going to be having a group meeting on Tuesday to prepare for Friday.

See you all there.

Daryl

P.S. Harry sent me a picture of lighting of the blockout. Looks good.

New Animatic

2008-11-28T07:41:00.000-08:00

Here's the new animatic. We've shortened it down by a few minutes, it's now about 2 minutes 20 seconds, which is much better. More importantly it feels snappier and better. Now we have just given it to Jason (sound designer) to see what he can do before Friday. What do you think.

Animatic Verison 2

2008-11-26T12:44:00.000-08:00

Well here's the second version of the animatic. Simon did a good job. I think the footage needs to be edited a little quicker. I'm gonna have a closer look at it on Friday, then I will send it to Jason. Got to make it perfect.

Elisha's Block Out of the Environment

2008-11-26T07:46:00.000-08:00

Hi all here is some screen shot of the environment block out, the animatic block out will be up on the group blog my next week.

Inspiration for Animators

2008-11-22T05:56:00.000-08:00

Hi,

Here's some videos I found on YouTube to inspire the animators (including myself).

The master Glen Keene at work, giving a lecture at CalArts. More Parts on YouTube.

Here's a lip-sync test by a guy who worked on that "Pyrats" film.

This kind of level of work I think is obtainable. By the way this is not from "The Little Mermaid", some colleges make you animate a known character to test your drawing skills.

This is of course an expert level of quality using a very simple character. It's Tony White's Film "Endangered Species".

New Research

2008-11-21T09:52:00.000-08:00

I met today with a sound design student called Jason Hodder who indeed was very helpful and kindley agreed to sound design the film. Now I just need to find music that is appropiate for the film for him to use.

I found this. Upon watching this I released that "Watch Mr. Wizard" is what my film is based on. This episode is from 1951. The theme is sort of what I'm looking for, maybe it needs to be a bit bigger. Enjoy!

James suggested the theme from this show Mystery Science Theatre.

I was also thinking of something like Home Improvement

Al suggested theme tunes such as "Whose line is it anyway" or just a hoedown. I found this, it's the theme from the UK version of "The Price is Right" from 1984.

Story Crisis

2008-11-12T12:21:00.000-08:00

Okay everyone. Early Test screenings have come back we have notes. They feel the camera is too static and the ending needs to be bigger, funnier. It's too safe, pedestrian. We must re-write. Everyone think bigger, funnier. Group pitch is only three weeks away.

First Animatic

2008-11-11T07:05:00.000-08:00

Here is the first copy of the animatic with the scratch voice track. Looking at it, I feel that
a) we should pan out to reveal the studio
b) we should cut away to reveal the product
c) the tooth should be shown more under pressure of scaler to build tension and
d) the tooth should be shown at the end to intensify the moment when the tooth is removed.

Animatic Version 2 Coming Up.

Foster's Visual Research

2008-11-11T07:00:00.000-08:00

Here are some examples from Foster's Home For Imaginary Friends. I really like the viusal style and character design in this show. This is hopefully what it will look like at the end.

Updated Production Schedule

2008-11-10T07:35:00.001-08:00

Daryl

The Group Contract

2008-11-07T09:24:00.001-08:00

“The Fantastical Cognitive Escapades of the Professor” Group Contact

I, the undersigned, decree that I will fully complete the work on time that I have agreed to. I also degree that this work will be completed to a high standard.

Signed: Dated:

Authorised by Daryl-Rhys Taylor 07/11/08

Script and Scratch Dialogue

2008-11-07T07:40:00.000-08:00

Here is the script we used for the voice over yesterday.

Script 6/11/2008

Susie-May: Aunt Marcie’s Fatback bits in gravy. The tinned fatback that sizzles when opened proudly presents The Professor!

Audience: Clap! Clap!

Prof: Howdy! Welcome to the show! You know the mouth is a simply fascinating place. To assist me in our adventures in dentistry today my good buddy Mort!

Mort: (nervous stuttering)

Prof: studying at university I witnessed many dental procedures. I can't believe I am doing my first one. Open Wide!

Mort: Hmmmmpff!

Prof: Look at all these gingivitis filled gums...Isn't that fascinating! While I get ready R.A.M why don't you tell the folks at home more about teeth.

R.A.M: Glad to prof! Teeth are loose bones held to the jaw by soft tissue known as gums. When bacteria enter the gum line it eats away causing diseases.

Bacteria: heh heh heh!

R.A.M: So that's why it is very important to brush and floss your teeth

Prof: A dentist has a wide variety of tools such as drills, mirrors and of course plaque scalars. Now let's get started, make sure you dig in deep. Hmmm having a bit of trouble here. Maybe if I pull a little. GULP!

Ram: GASP!

Mort: EEEE!

Mmft! Mmft! Mmft! Mmft!

Prof: Well we have come to the end of our show see you next time science seekers

Susie-May: This episode was brought to you by Aunt Marcie’s Fatback Bits in Gravy.
Join us next time when the professor will explain brain surgery
Come all back now you here!

Here is the cast list:

Professor/ Bacteria: Daryl
Mort: Simon
R.A.M: Al
Susie-May: Elisha
Audience: Harrison

Al currently has the CD and Simon says he will get to work on the animatic this weekend. Nerve racking isn't it.

Complete Production Schedule

2008-11-05T07:05:00.000-08:00

The Complete Production Schedule

Daryl

Behind the Scenes of Foster's home for Imaginary Friends

2008-11-05T06:37:00.000-08:00

http://imaginary-friends.net/about.php?craig

Craig Mc Cracken Interview

This is an interview with Craig McCracken, the mastermind behind the Powerpuff Girls and of course, Foster's Home for Imaginary Friends, from Animation Insider (unfortunately the link to the interview has died).

Where did the idea for Foster's come from?

McCracken: From my imagination! After making The Powerpuff Girls Movie, I wanted to take a break from drawing the same characters I had been drawing for 11-12 years. I was just doodling and drawing these random characters in my sketchbook and thought I really would love to do a show where I could invent new characters whenever I wanted and have a fresh universe for them to appear in. Typically with The Powerpuff Girls whenever I created a new characters, it was a bad guy.

Along the way I stumbled across the idea of imaginary friends, and that seemed like a good jumping off point,. My fiancée and I have two dogs that came from a shelter, and we always wondered where they came from and what their history was before they came to us. I thought the concept of a foster home could easily apply to imaginary friends. They would have been created by a certain kid, lived a certain life and then given up for one reason or another so they had this history.

And unlike The Powerpuff Girls, I didn't have to worry about good guys and bad guys and saving the day. In every Powerpuff Girls episodes you had this built in agenda; a crime, a villain and saving the day. With this new concept, I wanted something where I could have the smallest germ of an idea and just spin off into characters and comedy.

There are a lot of shows out there today with aggressiveness, an us vs. them approach, and fighting. I was seeing a lack of shows that were just about characters hanging out and telling stories. I remember watching Spongebob and thinking it was refreshing to watch a comedy series about funny characters. I think I'd like to get back to doing that kind of storytelling and do that type of a show. Foster's is a perfect vehicle for that, where I can just let the characters drive the story. It's about the personalities of these characters, how they relate to one another and putting them in situations and seeing how they would deal with it. It's really freeing from that standpoint.

What was the first character you created?

McCracken: Bloo was the first specific imaginary friend I created. I had created a very different version of Foster's and realized it wasn't going in the direction I had hoped, so I quickly changed the dynamics and turned it into a foster home. Many of the characters from my initial show idea were able to move over after I simplified my show idea.

The concept was always about imaginary friends mixing with real people: creating weird bizarre characters and juxtaposing them with normal people. And then putting them all into everyday situations like eating dinner or cleaning up. I wanted real, basic, day-to-day living situations to add imaginary friends to the mix! I really like that contrast. Some of the humor of the show is subtle, but there is something funny about a 22-year-old girl getting into serious arguments with a 7-foot-tall rabbit in a tuxedo.

How Is making Foster's different than making The Powerpuff Girls?

McCracken: With Foster's we are writing scripts on this show (as opposed to beginning with storyboards on The Powerpuff Girls), because the show is 22 minutes long and every episode is story-driven. We also want to make sure that every one of the characters gets the right amount of screen time, the pacing is correct, we have the right build and each characters has the right voice. It's easier to make changes to a script than it is to a finished, drawn storyboard. It takes so long to storyboard before you go to the board stage. It gives me more control of the story so I can make sure its just the way I want it. Once the script is done, I feel confident it's going to turn into a good board.

How has the longer length affected your storytelling?

McCracken: It gives us more room for "business," which is when the characters are just doing funny stuff. We use "business" to propel the story forward, but it's never a major plot point. In an 11- minute show, you only have 3-5 minute story so you have enough time for "business." But in a 3-minute story is pretty simple. With a 22-minute episode, I can tell a 8-10 minute story and still have plenty of room for "business." With this format, there's time for characters to be funny and be themselves and tell a good, meaty story.

You are using an exciting new production process on Foster's. Can you describe it?

McCracken: It's a digital/2-D hybrid production process. Our artwork starts out hand-drawn on paper as usual, and then the characters and backgrounds are cleaned up in the Illustrator program, which means it is vector-based art. Then we can take it into Flash, which allows the characters to be broken up and composited in After Effects.

The entire process basically affords us a look we never could get before. It also lets us re-use material; every time we create a walk cycle for a character, we can re-use it and you never have to animated it again. So it's much more efficient and the more shows we do, the more of a library we build and the quicker we can animate a show. We are the first people to be putting all of these elements together. They've been used separately, but using these programs the way we do is completely new. We are applying a traditional hand-drawn animation philosophy to these new technologies. A lot of people tend to use Flash and let the software do the work for the animator, and we are not.

We're treating the animation as if it were being created by hand. We are making the software work better for an animator but not relying on the technology to do the work for us but use it in assisting us. So now, it looks like it would if we were animating it by hand.

Another benefit is that, because all our animators are using all the same assets, there is never any concern about a show being off-model. In traditional animation you never know what overseas crew is going to get your show: Is it an A crew of a B crew? Do they have a strong artist or a weak one? It's always a gamble as to what your show is going to come back looking like, and, with this process, we never have to worry.

And because the artwork is vector-based, we can even zoom in and out without losing any of the integrity of the backgrounds or character art, which sometimes happens with hand-drawn animation. We also have a lot more options in terms of camera work we can do.

Can you talk about the different look of Foster's as compared to The Powerpuff Girls?

McCracken: I created the big, black outlines of The Powerpuff Girls during a time when I was really into graphic design. At the time we started The Powerpuff Girls, there weren't a lot of shows out there with that look. I wanted to make cartoons look cool and "design-y" again. We did that, and, over the past few years, the fat black line has become the default look of kids' cartoons and it's not as impactful anymore.

When we created this new production process for Foster's, we realized we can make it look anyway we wanted to. We thought "Wouldn't it be cool to give the character texture and show a brush stroke or a loose brush line to make it look more organic?" New technology has given us many more options with how to make the show look, so why stick to the same thing?

But the style of the show is just a creative choice. What drives the show I the characters and the story. From there, you can design a show to look any way. As long as the characters and story are strong, the design is the icing on the cake.

What role does music have in Foster's?

McCracken: The music is always a huge part of storytelling. It became a character in The Powerpuff Girls and acted as a voice of the characters. Because the house in Foster's is Victorian and because I'm a huge '60's psychedelic music fan, I went to our composer, Jim Venable (who worked on The Powerpuff Girls and Samurai Jack), and said "Let's try to do psychedelic ragtime." We combined psychedelic player pianos, mellotron and antique sounds with a weird '60s vibe to give the music a surreal, magical sound. The theme music is catch, quick, and energetic and it enlivens the show and takes it up another level. The show is great and funny by itself, but when you add the music, the level of excitement, fun and pace is greatly enhanced.

What traits do you share with your leads, Mac and Bloo?

McCracken: Bloo is a lot more like I was as a little kid: I was the center of attention, the youngest in my family, the showman. Mac is a more like me now: aware of others' feelings, quiet, shy, sensitive. Mac also seems to look more like me as a little kid, which was unintentional, but it just happened that way.

How is the house a character in the show?

McCracken: For every show I've created, there has been one visual that represents the show. In the Powerpuff Girls, it was the cute iconic character punching a giant monster; it was that contrast that was interesting.

With Foster's it was this ornate Victorian sitting room with couches with these weird psychedelic characters sitting on them. That image is what became the show in my mind: That cool contrast of these bizarre characters being in this weird out-of-time environment. Making the main setting a Victorian mansion makes it more of a cool place you'd want to go to than, say, an apartment building. It's visually more interesting. Kids can't really relate to it, so it makes it more magical. Also, Victorian mansions are really big, with lots of rooms with mysterious stairways and rooms and hallways, they can be an endless source of imagination and environment. Whatever we create can exist in this house.

Frankie seems so normal and grounded. Is she inspired by anyone?

McCracken: Frankie is pretty much inspired by my fiancée, Lauren. She's a strong, independent woman who believes in doing the right thing.

Frankie is someone who really believes in what the house represents and cares about the Imaginary Friends. She hates having to do all the grunt work and daily tasks, but she believes so strongly in the cause that she continues. She's the big sister to all the friends in the house. People look up to her. She's the contrast and connection to normal daily life.

Is Bloo the kind of character Mac wish him to be?

McCracken: Mac and Bloo balance each other out. Bloo does the things Mac wishes he could do if he wasn't so shy. Bloo needs Mac because without him he would destroy the world and couldn't control himself. They are part of the same person because Mac created Bloo from his mind - together they are almost one whole character.

You work with a number of the voice actors from The Powerpuff Girls. Did you create characters with certain actors in mind?

McCracken: The concept for all the characters voices were always there and I auditioned many of the same people I had worked with before, and lo and behold, they were the best people! We were looking for more than a funny voice - we wanted someone who was a great performer and someone who embodied the character and his spirit. For example, after auditioning many people who had perfect Spanish for the character of Eduardo, Tom Kenny, who I've worked with for years, came in and did this kind of awkward, childish, "Cookie Monster-ish" voice that embodied the spirit of Eduardo. Even though his Spanish wasn't so dead on, he had the spirit of the character and he got the part.

Bloo was the hardest to find. I had something so specific but intangible in mind. Because Bloo can be a bit of a jerk sometimes, I didn't want an annoying or grating voice but I wanted an excited innocence. I needed an Owen Wilson type - he plays lovable bad guys. We auditioned so many people without success, and, on the last day, Keith Ferguson came in and nailed it.

Where you were pitching this show did you do any research on Imaginary Friends?

McCracken: I asked myself the reason a kid would create an imaginary friend. They would create a friend who would be a protector, a companion to hang out with, a friend out of loneliness or a scapegoat to blame everything on. So by taking those basic motivations, we than created many of the characters. Eduardo is the protector, Coco is the one to keep you company, Bloo is the best friend to pal around with and Wilt is the guy to have fun and play sports with.

Coming up with the basic motivations why kids would create imaginary friends gave me a start for the main characters. I incorporated imaginary friends that came from different time periods. For example, Mr. Herriman, is a proper imaginary friend from an earlier era. Wilt is a basketball player from the mid '70s, so that's why he looks this way.

And then I took all these archetypes of imaginary friends and applied them to the types of dogs you find in a shelter: the hyper dog, the untrained dog, the three-legged dog, the guard dog. That led me to help create each character's personality.

Do you have an imaginary friend? Did you wish you did? What would it have been like?

McCracken: No, I didn't have a specific imaginary friend. I have always talked to myself, even as a little kid, so technically I probably do have someone I'm speaking to, but it's never taken a specific form or shape. Maybe I'm talking to the other side of myself?

Storyboard on my blog

2008-11-04T07:40:00.001-08:00

Daryl

Storyboard on my blog. Let's do this.

Elisha's Background Designs

2008-11-02T06:43:00.000-08:00

Elisha has done some great background concepts. They can be found over on her blog.

Ask Mr. Lizard

2008-10-27T02:53:00.000-07:00

Funny video research for the tone of the humour. Enjoy!

Example of what can go wrong on live t.v

Studio Layout

2008-10-26T06:21:00.001-07:00

The Layout drawing I did for the TV Studio. I have given this to Elisha to draw up some concepts and Harry's going to model it.

By Daryl

Production Schedule

2008-10-24T08:56:00.001-07:00

Here is the Production Schedule for this term guys. Have a quick look at it.

Group Work

2008-10-24T04:26:00.000-07:00

Okay everyone. Let's do this. Yeah!

Hi

2008-10-23T09:58:00.000-07:00

Hi, This is the group blog for The Professor film. You guys can post your work up here.