FMP Play Fight (Anim) and questionnaire

My review

Overall I am happy with the outcome of the animation as I feel its the best I can do at this stage of my life. This is the first proper animation I’ve ever made and with the fact it doesn’t look too shit and embarrassing by the end makes me feel worlds better. That being said it isn’t perfect as there are some messy drawings around which shows my lack of ability, as well as some of the animation, being janky but I’m saying it a part of its charm so it’s alright. The fact the animation is fast paced helps hide the imperfections by keeping the animation going. In the future, I’ll give more time to neaten up the characters and learn how to shade as these things will help the animation.

Below is the development of the animation showing the four stages of the process. from storyboard to animatic 1 and 2 then finally the final piece, you can see clearly scenes I cut out changed to get to the final pieces.



Once I exported my animation and uploaded it to YouTube, I then went on to making a questionnaire for friends and colleagues to fill out so then I would know how to make it even better. I believe that getting three groups of people; media students, the general public and professional animators to review my animation would allow me to get opinions from people who know how a professional animation should look like compared to those who don’t. Candidates that know how to animate could pick up on smaller detail and could provide a way to work around the problem.

Target Audience

John Pliskin – 16

Sebastian Mia – 14

Joe Mcfly – 19

General public

Jay Garrick – 32

Sarah Carpenter – 29

—————————————————————————————————————————————–John Pliskin –

I feel the animation is good for a beginner but there are some spots in the video where the animation is stuttery but ill base that from this being his first. I love the animation style as it gives the boys a nice charm much like shows I’ve seen. I would say try to have a smoother animation for your future projects but overall I like it 7/10.

—————————————————————————————————————————————–Sebastian Mia –

I don’t really know that much about animation but I really like it and think it’s impressive that a first timer could do this. I could never do something like this, I enjoyed the choice of music but next time try to make it neater. 7.5/10

—————————————————————————————————————————————–Joe Mcfly –

I have had experience in animation before as I’ve done some short project’s and know how hard it is to make.  I feel overall the design and aesthetics are pleasing but the lines and stuttery animation hold it down and could be better with time. As this is his first time I’ll let him off but I enjoyed the upbeat feel. 6/10

—————————————————————————————————————————————–Jay Garrick –

It was good 8/10

—————————————————————————————————————————————–Sarah Carpenter –

I found that the animation and the imaginative feel to it really helped the animation, as well as its fast paced nature. It may be a little messy at times but it adds to the charm of the animation. It doesn’t go on for long but it shows enough to make it enjoyable. 8/10

FMP Production development

After the production of my animatic, I started to look into ways to produce my animation. So the first step on things to do was to produce the backgrounds to the scenes so I wouldn’t have to go back and add in the backgrounds after the animation has been made, it also helps me set the characters up better in the scene. I used Photoshop to draw the backgrounds and based them on the scenes from my sketches and the angles they are at. In Adobe Photoshop I ensure I named all the layers appropriately so then I wouldn’t get confused in my animating process, even if it meant naming six+ layers which I did for certain frames. As I wanted my final animatic to be 1080×1920 I had to create each shot to this size. As I didn’t want to stretch the frame to where parts of the sketches were missing I used the Clone Stamp and Spot Healing Brush Tool to fill in the empty gaps. I did notice that some edges weren’t visible on the moving layers so I drew them in with the Paint Brush Tool. The sketches help me plan out the angles better for the final animation so if I need to rotate an angle more I can at this stage. After planning the room I start searching for colours for the room, I based the room off my old living room cream for the walls and I feel the end look works well and compliments each other. After that adding other objects like the chair and window which went through the same process as before.

After I finished the background designs I started to design the intro page starting in the sky and then moving down to reveal the houses where the boys are. I had the idea for this intro from the beginning as I felt it was a good way to start and reveal the boys in the house. I did this scene by making three different photoshop files one for the logo another for the sky/clouds and the third for the houses.


This is the final animatic including a lot of scenes that I will use in the final piece and some that were scrapped (if you wanna watch the whole thing check out the other post). In this animatic, you will see the characters pre colour this is the base of what the final animation will be before I work out the collours of the final animation.Turn around 2.jpgturn around 1.jpg

These are the full character turnarounds of the two main characters, with colour. This turnaround is based of the drawn one I did in my sketchbook. I used these character turnarounds frequently in the production of my animation for reference, this helps speed up production time when I was stuck with the characters on stupid angles.

In the animation, I switched frequently between four main software, Adobe Premiere Pro, Photoshop, After Effects and Animate. For the drawn part of the animation, I used Photoshop and Animate to work out the pacing and the drawing. For the editing, I used the other software. It may seem like more work but my using more software it kinda split up the workload and made me feel better about my project.

AR/VR Final Video/questionnaire

VR Trailer:

Questionnaire feedback:

Do you feel the story of the video is engaging?

  • yes
  • Yes!

How original do you feel the story is compared to other game trailers? Explain

  • – Sort of original, I feel like it has been done before
  • – Quite original though I didn’t know what the story involved as the player was just looking around rather than interacting with the environment

–  Response –

In the future, we’ll try to add something more special to make the trailer more independent and original.

Does the sound fit the trailer? Explain

  • Yes the audio fits the trailer well
  • Yes, works very well with the atmosphere

How does the background look? Explain

  • The backgrounds were well made
  • Colourful and detailed, would be interesting to see another world in Arcadia

Would you interested in buying this game after watching the trailer?

  • Yes
  • NO

Out of 10 how well do you feel the visuals hold up?

  • 8/10
  • 8/10

Out of 10 how well do you feel the graphics help the story?

  • 8/10
  • 8/10

Overall I feel the trailer looked good but what could be improved is maybe adding moving scenery and wildlife and making the user feel like they are in the world better. Also, we could clean um the keying to make it crispier.

Questionnaire: \/


FMP Room Designs


I want to keep the rooms simple enough so it will be easier to implement when animating. For example, the room from Regular Show is quite simple and the kinda feel I want from the room, a plain room with a sofa and some background items. The look below is quite watercoloured whilst the family guy room has plain colours so I’ll have to work out something to what I think feels best in the long run and that the characters fit into.


This front view of the characters is what in my animation will look like for quite a lot of the animation. So I will use these images as reference when making the backgrounds.


This wider shot of the room reveals more of the environment of the room, it’s quite an empty room so it much easier to do when making the background. Also, the colours in the regular show are soft creamy colours giving the room a safe feel so it balances out with the main character’s actions.


As you can see Family Guy use a lot of plain colours with slight shadows for details, this simple style compliments the look/design of the characters. When I finish the digital design of the characters I will make the background to compliment the characters so they feel like they would live in this world.

FMP Fight Scene and Style Research

Style Research:

I find a lot of inspiration through modern tv shows as the display a simplistic style but with some level of detail through shadows and backgrounds. As you can see below this adventure time fight scene is a great display of modern animation in a simple but effective fight scene. This is the fun light heart and effective fight scene I would like to do in my animation, making it fluid and fun showing the characters really going for one and other through a simple animation.

Punisher “Avengers Confidential: Black Widow and Punisher”, By far one of the best animated movies from Marvel. I like that they have decided to go with an anime feel to the animation. Everything is smooth, well drawn and showcases both characters very well. Punisher’s brutality has never really been captured until now. Especially how well trained he is. In the live action movies, they show very little of Punisher’s H2H capabilities and to be honest I feel like they didn’t quite capture the character either. This all changes in this action-packed animated film. A well-written story, with chemistry that I didn’t expect from Black Widow and The Punisher. Punisher shows his ruthlessness, cunning, and no bullsh*t attitude. No hesitation at all. Just straight murder. Punisher starts by killing off a small army of men with knives to the head and one handed neck snaps.

Fight scene Research:

Obviously, the fight scene won’t be a brutal and realistic as the raid fight scene as my animation is supposed to be light-hearted and for a younger audience but this fight scene gives you an idea of great hand to hand combat in close quarters. Since my fight scene is close this alongside other great fight scenes will give e an idea of what I want to add. The adventure time fight scene above gives the idea of what I want the monster fight to be in the animation.

How to write a good fight scene:

  1. Don’t overwrite it – It’s apparently general rule according to online websites that you should leave as much to the reader’s imagination as you can, and this is doubly true for action scenes. The choreography of the fight may be exact in your head but you can’t force readers to see the same thing.
  2. Pace -Intensifying the pace of your writing can communicate the immediacy and suddenness of conflict. Short, simple sentences keep the reader on their toes. Fights happen quickly and your description needs to match that.
  3. Perspective – It’s difficult to communicate excitement when you describe something objectively. Hovering around the fight describing the actions of both characters sets a limitation on how gripping the experience can be. The key is to thrust the reader into the thick of the action and to do that they need to experience the fight through a character.
  4. Fight scenes demand brevity and adverbs are the opposite. Instead of ‘Adam hit him hard in the chest, again and again,’ use ‘Adam pounded at his chest’.

AR/VR Editing Development

The first thing Rokas did in after effects were to import all of the files and them in order. Since me and Rokas did the 3D landscape we had to import the stills into the editing software. On the landscape, there was a lot of shadows which were put in on Maya when making the 3D landscape. Some of the clips with me irl didn’t match the lighting of the 3D made the world so we changed it in layers modes from Normal to Screen (located in the composition tab on the bottom left). In addition to that, he changes the size of the IRL greenscreen scenes to make the fact that I actually in the game more believable.

Once I exported the clip from Adobe After Effects, I then imported it into Adobe Premiere Pro, where I would then add in the sound that was found and made by Liam. As the audio was very jumbled in the clip I created in After Effects I got the audio from the original clip and put it over the top. A few of the clips audio levels were quite high compared to the rest so I had to decrease the volume using Volume> Levels. This stage wasn’t difficult as I had worked with syncing audio with video before in my ‘Warburtons Advert’ and ‘Film Noir Trailer’.Image result for after effects

AR/VR Green Screen

When filming using a greenscreen it is quite an easy process that people use a lot in filming, adverts and much more media of that sort, doing this usually make the video more appealing to you and the effects to the video. But before you add the visual effect or anything of that sort the green screen should be properly removed. I will be using adobe after effects as it has proper tools to easily remove the green screen and can clean up any noise.

The credit for development of the bluescreen is given to Larry Butler, who won the Academy Award for special effects for The Thief of Bagdad. He had invented the blue screen and travelling matte technique in order to achieve the visual effects which were unprecedented in 1940. Blue screens are used in place of green screens because it’s generally easier to chroma-key. The colour is softer than in a green screen. However, green screens are still more commonly used because of multiple reasons. One of them being the fact that some people like to wear blue clothing.

How I used the Keylight plugin for after effects:

Click on the green screen video you have to make it active in Adobe After Effects. Click on “Effect,” “Keying” and “Keylight.” This plug-in effect for Adobe After Effects that automatically comes with the software. Click on the Effect Controls tab. Then you should select the “Eye dropper” icon next to the Screen Color option. Click on a section of the green screen towards the middle of your video. Click on “View” and select “Status.” Here you can see any parts of the green screen that were not removed. These areas will appear white and gray around the object. Increase the Screen Grain until the outer edges of gray and white disappear and you see just the shape of the object.Screen-Shot-2012-12-02-at-11.47.08-PM.png

This is how to use the colour key effect:

First, you should Click on the video layer to activate it. Go to “Effect,” “Keying” and select “Color Key.” Click on the Effect Controls tab in the top left of the software. Scroll down until you find the Color Key Effect. Click on the eyedropper tool next to the Colour option. Click on the green screen in the Composition Window. Most of the green will disappear. Move the Color Tolerance slider and adjust to remove similar shades of green or darker areas that were cast from shadows and lighting. Adjust the Edge Feather option so that the objects in front of the green screen will blend into the background without rough or glowing edges. Play a preview of the video to ensure that the green screen does not appear throughout the complete timeline. Adjust the Edge Feather and Color Tolerance as needed.Image result for green screen in moviesImage result for green screen in movies

AR/VR History/Timelines

A brief history of VR:

The first two real attempts of VR was in 1993 and 1995 as both big gaming companies at the time Nintendo and sega both were trying to get into the VR world respectively. Sega’s VR headset would have been on the Sega Genesis console, unfortunately, due to the technical limitations, the headset was a huge flop. After that Nintendo’s Virtual boy to the scene as the first ever portable console with 3D graphics and again due to the colour not showing properly and a lack of software support it was difficult to use and soon after was discontinued.

VR development kind of died down a bit for at lease 15 years but as computer technology advanced so did the technology capable of working a VR headset. Recently companies like Google have released interim virtual reality products such as the Google Cardboard, a DIY headset that uses a smartphone to drive it. Companies like Samsung have taken this concept further with products such as the Galaxy Gear, which is mass produced and contains “smart” features such as gesture control. Nowadays there are so many companies fighting for the top spot in VR technology constantly getting smarter and more advanced the main hitters at the moment are Oculus Rift, Valve corporation, and HTC, Microsoft as well as Sony Computer Entertainment.


A brief history of AR:

Some people could easily go further back in time to find examples of information overlays that were layered on top of the real life, the first evidence of real life with computer-generated information occurred in the 1960s. Ivan Sutherland can be credited with starting the field that would eventually turn into both VR and AR. In 1965, he postulated the ultimate display in an essay that contains the following famous quote:

“The ultimate display would, of course, be a room within which the computer can control the existence of matter. A chair displayed in such a room would be good enough to sit in. Handcuffs displayed in such a room would be confining, and a bullet displayed in such a room would be fatal. With appropriate programming, such a display could literally be the Wonderland into which Alice walked.”

Advances in computing performance of the 1980s and early 1990s were ultimately required for AR to emerge as an independent field of research. Throughout the 1970s and 1980s, Myron Krueger, Dan Sandin, Scott Fisher, and others had experimented with many concepts of mixing human interaction with computer-generated overlays on video for interactive art experiences. Krueger, 1991, in particular, demonstrated collaborative interactive overlays of graphical annotations among participant silhouettes in his Videoplace installations around 1974.


Nowadays AR has advanced so much that the Microsoft HoloLens was shipped last year for a full AR experience.


AR/VR Logo Development

Liam and Elliot were tasked to create a logo for the group, they spent most of their time working on the virtual reality logo design. Liam spent most of his time working on different varieties of one logo, that was supposed to be the final concept, nevertheless, a brand new concept was introduced and brought forward a better design and backstory to it, although this was a huge plus for the concept artist team, but it also met with time loss, I believe we should have planned the idea and consequently solidified the concept before setting out on the design process.


Designed By Liam