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.

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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.

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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.

 

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Designed By Liam

 

 

FMP House Moodboard/Research

For the houses, at the beginning of my animation, I wanted a traditional/recognisable English home as I really like this style of housing and it fits the theme/setting of the animation. This moodboard is for the development and style of the house I will draw in my sketchbook.

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FMP Character Design Research

Character design is a tricky task to tackle because although many of the classic characters familiar to us all through cartoons, movies, and advertising look simple, that simplicity usually takes many hours of work that have gone into their development. The main two character boy 1 and boy 2 are going to look similar in shape and size but with the main difference being the faces of the characters and colored clothes. I have bee using these books to help design each character and to make them look atomically correct as possible. By doing this it will help make the animation look better as referring to these books help the movement of the animations and how the should be standing etc these books are good reference point.

The characters are going to be designed towards male young teens and children around the age of 10 as this is the main age range for my animation so the style of the character would have to look similar to that age range and have to look somewhat cool. Character design is done to distinctive shapes and draws emotion from the three primary shapes circles, squares, and triangles. Squares commonly represent stubbornness, pride, strength, and simplicity whilst a circle represents a softness, friendliness, and trust. whilst the triangle is associated with danger, unpredictability, and wildness.

From Mickey Mouse’s famous three fingered hands were drawn this way to increase production time, this was first developed for animations in the 1920s, The elegant simplicity of Homer Simpson, character design has always been about keeping it simple. These characters are simple in nature but have such a big personality and individuality towards them this is something I need to keep in mind when creating my animation. Expression and movement are also key when creating my animation as this basically shows the audience who they are, what they are like and relate to them overall.

 

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FMP 2D Animation and Software Research

2D animation is not used as much in mainstream cinema anymore due to the public’s constant persistence in making everything feel more 3D. But one space where 2D is thriving is the TV medium, animated shows have ruled most kids channels like Disney and cartoon network but this mainly happens because 3D animation is much harder to make to a high quality can working on a 2D series is much easier.

The software I’m thinking about using for this project is TVPaint as I read about it and heard that it’s quite easy to learn for new animators. I’m also using some books as research towards producing and making the animation such as.

2D Computer animation – Headly Griffin

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Timing for animation – Harold Whitaker and John Halas

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Physics for animators – Michele Bousquet

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Animation Pipeline:

Story Pitch-                                                                                                                                                          This is pretty self-explanatory, but this is where the writers pitch the story of the animated show or movie to the studio to try to get it made. The difficulty about this is getting the audience to believe in the story.

Script Production-                                                                                                                                              This is where the main writers and producers start to flesh out and develop the story fully.

Storyboards-                                                                                                                                                         Each storyboard artist receives script pages and outline of the characters emotional changes seen through actions, draw them out then pitch it to the director.

Background Design (Digital Ink and Paint)-                                                                                             The is the design of the backgrounds for every scene, this is an essential part of the animation as this creates the world around you characters showing where they are.

Voice (Audio Track Recorded)-                                                                                                                       This is the recording of the actor’s voices getting ready for the final made animation.

Animatic-                                                                                                                                                              The animatic is the pre-animation giving the concept of the eventually finished animation these are usually made in black and white. They are used to see is scenes work with the episode to find out if it will go into the final product.

Animation –                                                                                                                                                         The final animation especially in TV animation it si done overseas as it is cheaper to do so. Theses take a long time to make it’s usually around 10 months to make a series.

Gravity Falls:

The software used to produce the Animated Series Gravity Falls is Toonz. This animation software is used by countless Large Studios to produce some of the most memorable cartoon series and feature films. This is the lead competitor when it comes to animation suites for studios next to Toon Boom Harmony. Both are great for creating beautifully detailed animations for television broadcast or theater release. What Toonz does is that it allows for workflows involving Paper and Paperless production. Toonz has additional software for line tests and storyboarding, the same as Toon Boom another software by the company.

Adventure Time:

The studio appears to have a flexible production pipeline that allows them to come up with inventive solutions for each shot. Some of their scenes are puppeted, while others use full animation techniques. Considering how many artists are decrying Flash (now adobe animate) nowadays in favor of other animation programs such as Toon Boom and TVPaint, it’s nice to know that Flash can still be used to create amazing looking animation. The reason people decry Flash these days in favor or Toon Boom or TVPaint is because Flash is a very clunky piece of software that crashes a lot and was never built as a character animation program. It’s essentially web design software being forced to do character animation.

Scooby-Doo! Where are you?

As was the case with all television animation in the late 1960s, “Scooby-Doo, Where Are You!” was created through a process called “limited” or “planned” animation, which was devised a decade earlier by Bill Hanna and Joe Barbera. Unlike full animation, limited animation does not require an entirely new drawing for every frame of film. Only the part of the character that absolutely has to move — say, an arm or head or leg — actually moves, while the rest of the figure remains stationery. This is accomplished by splitting up the character onto different “cels” — sheets of acetate or celluloid onto which the figures are painted and then photographed. The bottom cel may contain the character’s body, while the cel laid over it contains the arm or head, or whatever part is required to move.

Many of the early Hanna-Barbera characters wore neckties or collars so that the separation between the body cels and the head cels would not be apparent, and their faces were often designed to have muzzles so that the mouth could be animated on a separate cel. But in “Scooby-Doo, Where Are You!” none of the characters had that kind of facial separation. The director passes the work onto the animators, who draw the scenes and lip-sync the mouths of the characters to the voice tracks. Today, virtually all television animation use overseas studios, and the style is much less limited than it used to be. The studio for “Shaggy & Scooby Get A Clue!” is Digital eMation, Inc., based in Korea.

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FMP Animation timeline/moodboards

Animation Timeline:

1603 – The Magic Lantern is an image projector using pictures on sheets of glass. Since some sheets contain moving parts, it is considered the first example of projected animation.

1824 – The thaumatrope housed a rotating mechanism with a different picture on each side. When rotated, you saw a combined picture (known as persistence of vision).

1831 – The phenakitoscope featured spinning disks reflected in mirrors that made it seem like the pictures were moving.

1834 – The zoetrope was a hollow drum that housed images on long interchangeable strips
that spin and made the images appear to move.

1868 – The flip-book, also known as the kineograph, reached a wide audience and is credited with inspiring early animators more than the machines developed in this era.

1877 – The praxinoscope expanded on the zoetrope, using multiple wheels to rotate images. It is considered to have shown the first prototypes of the animated cartoon.

1900 – 1930 – The early 20th century marks the beginning of theatrical showings of cartoons, especially in the United States and France. Many animators form studios, with Bray Studios in New York proving the most successful of this era. Bray helped launch the careers of the cartoonists that created Mighty Mouse, Betty Boop, and Woody Woodpecker.

1928 – Steamboat Willie featuring Mickey Mouse—becomes the first cartoon with the sound printed on the film, and is the first notable success for Walt Disney Studios, founded in Los Angeles in 1923.

The golden age of American animation 1930-1950s – During what many consider to be the “Golden Age” of animation, theatrical cartoons became an integral part of popular culture. These years are defined by the rise of Walt Disney (Mickey Mouse, Donald Duck, and Silly Symphonies), Warner Brothers, MGM, and Fleischer (Betty Boop, Popeye).

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Animation Moodboards:

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FMP Story and Characters

Concept Story Ideas:

When developing the story I came up with slightly different ideas that moved in different ways these are those ideas.

The original intro: The scene opens with the front od the house showing the main house as well as the Nabours with two people standing out front, the scene then cuts to the interior with the camera facing the door. Following a knock, at the door, a young child runs and opens the door to reveal another young boy and his mother. They instantly run upstairs into the main boy’s bedroom where the scene starts.                                                       [I decided to change this because it felt like too much of a long winded intro for the animation also to make it easier for myself as having the opening door and the boys running upstairs would add a lot more time to the production of the animation.]

Full Story:

Intro:                                                                                                                                                                       The start of the animation begins with the title of the animation in the sky, which the working title is “Play Fighting”, then the camera pans down the street where the house is and proceeds to zoom in on the bottom window of the main house. Then through the window, you see two boys playing with their toys. The boys proceed to grab the same toy and this indicates the fight. They back off of each other into a duel like stance and we see the boy 1 with a light saber and the second boy with an arm attachment which he proceeds to put on.                                                                                                                                                               The Fight:                                                                                                                                                              The fight begins with the second boy putting on the arm attachment, once the attachment is on a rocket comes out of it at fires towards the boy 1 which he destroys with his light saber. After he has cut the rocket the boy lunches with his lightsaber towards boy 2 and pins him to the ground for a few seconds but then he his blasted away. Now the boys have split up boy 2’s arm changes into a full body suit and shoot a rocket which makes a small explosion that covers over boy 1 hiding him in dust, boy two looks around for him when suddenly two eyes appear glowing. The eyes get higher and higher, the camera cuts to the boy in the suit looking scared about what’s happening and then out of the dust you see Godzilla. The boy in the suit starts to run away when he’s grabbed by Godzilla and gets dragged away from the camera. Boy 1 puts boy 2 in his mouth and goes off screen where a bunch of explosions happens which appear on the screen and when we see them again they’re in their normal form.                                                                                                                         Conclusion:                                                                                                                                                           As the boys are in an entangled position Darth Vader walks into the room and we see the boy shocked about seeing this. The camera goes back to the Darth Vader staring them down then back to the boy and back to Darth Vader but instead of Darth Vader it’s their mother looking unimpressed and says dinners ready. The boys squint their eyes like they did at the begining before they started fighting.                                                                                     CREDITS

Characters:

Boy 1 – Character only

Boy 2 – Character only

Mum – Voice and character