Lately I've been following the Kris Pearn storyboard lessons on Schoolism. I love learning more about the craft and seeing the different approaches and methods different artists use!
These are from Week 2 - the task was to take a 3 - 5 minute sequence from a film and study it, thinking about how I responded emotionally to it and working out how the film maker uses the camera "to create emotional context for the audience."
I had been watching The Lord of the Rings, so I chose "The Sacrifice of Faramir" sequence from RotK.
One of the reasons I chose it was because there was a lot of movement - more movement than I've ever storyboarded myself, and it's usually good to take yourself out your comfort zone (or so I hear!) It's a good exercise - it took a while, but it was really satisfying to see it all drawn out (even if a lot of the drawings are quite crude. I really didn't have the patience to draw all the horses!).
I realise I may have scribbled the wrong terms for camera moves down ... I hope I'm getting better, but I used to get a bit confused with the different terms (like the difference between a dolly shot and a zoom, for example). Every day's a school day!
In March I worked with Playdead Ltd to produce storyboards for this online campaign for Wondros, which I'm now pleased to share. You can find the storyboards over on the storyboard section of my portfolio.
“Home Matters” is a national movement that is redefining the American Dream, believing that the New American Dream is one where every American lives in a safe, nurturing environment with access to quality education, healthcare, public spaces and community services. More than half a million people in the United States do not have a home, a quarter of these individuals are children.
Playing around learning to make GIFs in Photoshop. First try was quick and messy, but I quite liked the result! Looking forward to doing more.
And of course it would be a shiba inu. I'm mildly obsessed with those dogs XD
I was very excited to be contacted by Aaron Bartlett (Creative Concept) to do another animated sequence for "Bruni & Vergier Against the World"!
This time I was doing the animation alone, as Tom Paxton (who I collaborated with last time) had other commitments. However, I wasn't too daunted - using the experience from last time, I felt confident I could get it done in the 3 weeks given.
After receiving the brief, I started as I usually do: dedicating a good chunk of time to gathering as much resource material as possible. This includes the riders, their specific kit, logos and poses. For the latter, I usually coerce my boyfriend to act out the poses for me to photograph, especially if I'm drawing guys. It's also a lot quicker than trying to trawl through photo stock for the right pose. Watching anime also helped (but I would do that anyway ...)
The brief was nice and clear, so storyboards were done pretty quickly. I also didn't feel the need to take them further than the rough thumbnail stage (which of course I would have were I passing them forward to someone else to do the animating!)
The character designs changed slightly since 2015, I believe for the better! The three riders look a bit more mature and detailed than in the first season intro. Still, the existing character designs were a useful starting point and saved me a lot of time.
Slightly different to last time, there was a lot more emphasis on the kit and sponsors - 661 kneepads, Rock Shox suspension forks and the Specialized bike getting particular focus with each rider's segment. I had to make sure the different logos were added, and in some cases took a bit of artistic liberty in the placement to make sure they were visible (such as the "S-Works" logo on the bike)
Last year we did the animation using Adobe Photoshop, because it was the only program Tom and I both had already. This time around I was free to use Toon Boom, which I had recently upgraded to Harmony. It was easily a much faster and smoother experience than PS, which isn't really designed for animating in anyway. Like last time, I composited it in Adobe After Effects. I was able to re-use the backgrounds from season 1, which saved me a bit of time (as simple as they are).
I haven't really gone into my process in great detail before, so I hopefully it was at least somewhat coherent and not too much of a ramble!
Bruni & Vergier (& Iles) are back for a second season, and I'm happy to say I was once again invited to provide some animation! I plan on posting a more in-depth post about my side of the sequence, but in the meantime, here's the trailer (first episode out Friday 4th March).
I found some of the files from the CelAction training course I was fortunate to take part in! The course was held on Skye at Sabhal Mòr Ostaig and taught by the lovely and ever-patient Mat Dame of King Rollo Films.
For one of our last lessons we did lip synch ... and I made things difficult for myself! Choosing a clip that was longer than recommended and wanting to incorporate body language to match the wonderfully over-the-top acting by Eartha Kitt (I admit, manipulating the stock boy puppet we were all given into to those poses was a lot of fun ... weird, weird fun).
As you will see, I did not complete the animation in the end. Perhaps a lesson to stick to the brief and keep time in mind? I wish I could go back and finish it, but unfortunately it was right at the end of the course.
(All assets belong to King Rollo Films. The dialogue is from the Disney film "The Emperor's New Groove")
Very proud to say the least! Well done everyone involved.
UK based animation & storyboard artist