DGA210 - Live Brief Showreel
Saturday, 2 December 2017
DGA210 – Crew Project Production Report
Dang Kuan DGA210 – “Papa Poule” Crew Project Production Report
For my crew project, I decided to focus on working on one third year film project. This allowed me to be more flexible with work on other modules and projects while also providing a greater output of work for the crew project. I decided to help out in the production of the third year film, “Papa Poule”. I chose this project because I thought the animation style was relatively charming and was all supposed to be done in 2D.
During the pre-production stage, the director and producer gave me my first task of drawing 10 dynamic poses for the main character in the short; Paul. I believe this task was given to help provide some practice in drawing the main character many others would be animating during production. While referencing the character design, turnarounds and expression sheets already created by the director/producer, I managed to finish the dynamic poses. While they definitely looked like dynamic poses, the director noticeably pointed out that my style of drawing the character was slightly off in terms of facial and bodily proportions in her feedback. After practicing how to draw the character a bit more, I managed to adapt to the art style and proportions relatively quickly.
I was given a production task to begin animating the key frames for a shot in the animatic. The shot in question was from a scene in which Paul puts a cap on his head. While the task seemed simple at first, as it was a close-up shot of the character, there were some areas of the animation where I ran into some problems. The first, being that I didn’t have an idea of what the cap looked like as a three dimensional shape. When I asked the director about this, I was given a general idea of what the cap was supposed to look like and I tried to draw it in the way it was described to me. The end result was serviceable enough to the director and would later add turnaround sheets for the character wearing the cap. Another problem I came across was animating how the hair gets tucked into the cap after it is put on. It was strange to animate at first, as it would not have been physically possible in real life, but I managed to fix the shot after animating the hair ‘shrinking’ while putting on the cap.
The next shot I was given would be a lot simpler, as I was to draw the key frames for a shot where Paul looks confusingly at an egg and taps on it. I was told there weren’t any problems while animating this shot at first, although much later I would need to make the shot more exaggerated and less stiff.
At this point in time, the last shot I worked on was a shot where Paul reacts to a lizard popping out of the egg and sneezing. I was supposed to just draw the key frames of the shot but I managed to do the inbetweens as well, as it was a shot without much movement. There weren’t any problems while animating this shot.
As of this point, I certainly wouldn’t mind continuing to help out in the production of this project, as I believe most problems I had with drawing and animating the character had been mostly alleviated after some practice. It has definitely been a helpful experience working on a third year’s film.
For my crew project, I decided to focus on working on one third year film project. This allowed me to be more flexible with work on other modules and projects while also providing a greater output of work for the crew project. I decided to help out in the production of the third year film, “Papa Poule”. I chose this project because I thought the animation style was relatively charming and was all supposed to be done in 2D.
During the pre-production stage, the director and producer gave me my first task of drawing 10 dynamic poses for the main character in the short; Paul. I believe this task was given to help provide some practice in drawing the main character many others would be animating during production. While referencing the character design, turnarounds and expression sheets already created by the director/producer, I managed to finish the dynamic poses. While they definitely looked like dynamic poses, the director noticeably pointed out that my style of drawing the character was slightly off in terms of facial and bodily proportions in her feedback. After practicing how to draw the character a bit more, I managed to adapt to the art style and proportions relatively quickly.
I was given a production task to begin animating the key frames for a shot in the animatic. The shot in question was from a scene in which Paul puts a cap on his head. While the task seemed simple at first, as it was a close-up shot of the character, there were some areas of the animation where I ran into some problems. The first, being that I didn’t have an idea of what the cap looked like as a three dimensional shape. When I asked the director about this, I was given a general idea of what the cap was supposed to look like and I tried to draw it in the way it was described to me. The end result was serviceable enough to the director and would later add turnaround sheets for the character wearing the cap. Another problem I came across was animating how the hair gets tucked into the cap after it is put on. It was strange to animate at first, as it would not have been physically possible in real life, but I managed to fix the shot after animating the hair ‘shrinking’ while putting on the cap.
The next shot I was given would be a lot simpler, as I was to draw the key frames for a shot where Paul looks confusingly at an egg and taps on it. I was told there weren’t any problems while animating this shot at first, although much later I would need to make the shot more exaggerated and less stiff.
At this point in time, the last shot I worked on was a shot where Paul reacts to a lizard popping out of the egg and sneezing. I was supposed to just draw the key frames of the shot but I managed to do the inbetweens as well, as it was a shot without much movement. There weren’t any problems while animating this shot.
As of this point, I certainly wouldn’t mind continuing to help out in the production of this project, as I believe most problems I had with drawing and animating the character had been mostly alleviated after some practice. It has definitely been a helpful experience working on a third year’s film.
Tuesday, 11 April 2017
Title sequence group project final
The final version edited and compiled by Noah Serafin (additional animation credit to the former, Jessica Wright, and Zoe Early). Full production report below.
The title sequence project was a rather challenging prospect
since the beginning, as being grouped together with people I didn’t know was
slightly difficult to adjust to. I took the initiative in setting up the group
chat to help everyone introduce themselves (Noah Serafin, Jessica Wright and
Zoe Early) and organise meetups. Although our group had a slow start, we
decided fairly quickly early on that we would be choosing the “Yesterday’s
Tomorrow” task as everyone agreed it would the most interesting to do. Although
our group consisted of 2D students, there was some debate as to whether we were
going to implement stop motion and/or live-action segments.
Getting the people in the group to decide on who would be
doing what for the first few weeks was difficult as one of our members was
absent for personal issues in a few group meetings, although it didn’t put any
major detriment to the project as a whole. We also set up Google drives to make
access to our work easier. I can say that our group managed to get along fairly
well and didn’t have that many disagreements on how to do the project.
Our group got a fully realised idea of what we were going to
do around midway through the project after I created a rough animatic to show
how the sequence would play out. We had each contributed ideas in rough draft
before this and I attempted to compile their ideas as well as mine to create
the basis of the sequence. There were points during the making of the project
where we debated using colour or black and white for the whole sequence.
After a few group meetings, we were able to conclude on how to
split the workload and decided who would do what. Everyone had a clear idea of
what they were supposed to do, and this made it easy for everyone to
concentrate and focus on their segments. I decided to do more of the animated
2D segments and design the intertitle borders as I believed this was what I was
most comfortable with to produce. Everyone else also managed to be in a
position where they would be comfortable with what they were producing for the
project. Editing and sound in particular was handled nicely by Noah as we were
all confident he could do it right.
In conclusion, the title sequence project was certainly a
challenge at the start but over time became easier to get into once everyone
settled on who was going to do what. Luckily for us, this was a simple matter.
I learned a lot from this project, as I went into it thinking I wouldn’t be
able to get much work done due to miscommunication with unknowns. Providing a
clear explanation through animatic helped clear these doubts and problems. If I
could change anything about the project, I would put more detail into the
animated sections, as I believe at least my sections could use have used more
colour, lighting and detail. If anything else I’d say I managed to bulk up my
team-building and communication skills.
Title sequence group project (time machine segment)
The time machine segment I animated based on the original book cover (below).
Title sequence group project (war of the worlds segment)
The war of the worlds segment I animated based on the original book cover (below).
Title sequence group project intertitle frame
For the intertitles I decided to design the frames. I went with an early 20th century silent film style for the borders to match the setting of our project.
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