JOY RIDE
As a team, we all worked together and helped out during the production of this film. We collaborated on the story together, based on what objects we had. Did a quick, basic story board, and added scenes as we saw necessary. During the filming, we each took turns animating and working the camera. We would often review the scenes we just shot to see if there was a general consensus to move on, or to re-shoot the scene to make it better. The workload in terms of filming was divided pretty evenly, and the editing was done by Becky and Lucie Roberts.
We tried using characters that were pose-able in order to convey a more diverse range of motion. The Ork laughing on the bike was a good example of this, whereas Kaneda could only move his upper body so much before he fell flat on his face (which he often did). Character movement with these figures were done with slowing in out in mind to make the movements more realistic, but hard to mark or gauge beforehand, so a guess, test and revise approach was used. The bike scenes were more impressive because we were able to measure and mark the ground where it would speed up, slow down, turn, or settle after a stop. For some of these, the camera was placed on a tripod, which was fixed on top of a skateboard for a smoother pan. The plush and non pose-able figures were the some of tougher characters to animate, especially in terms of having them look like they're falling over, most could only remain upright or face down and nothing in between (ex. the baby). There was only so much magic our kneaded erasers and double stick tape could do on concrete. On the other hand, the plush figures were fun to animate in terms of portraying squash and stretch, since their shape isn't as ridged as plastic, as seen with Togepi falling on his face.
We tried using characters that were pose-able in order to convey a more diverse range of motion. The Ork laughing on the bike was a good example of this, whereas Kaneda could only move his upper body so much before he fell flat on his face (which he often did). Character movement with these figures were done with slowing in out in mind to make the movements more realistic, but hard to mark or gauge beforehand, so a guess, test and revise approach was used. The bike scenes were more impressive because we were able to measure and mark the ground where it would speed up, slow down, turn, or settle after a stop. For some of these, the camera was placed on a tripod, which was fixed on top of a skateboard for a smoother pan. The plush and non pose-able figures were the some of tougher characters to animate, especially in terms of having them look like they're falling over, most could only remain upright or face down and nothing in between (ex. the baby). There was only so much magic our kneaded erasers and double stick tape could do on concrete. On the other hand, the plush figures were fun to animate in terms of portraying squash and stretch, since their shape isn't as ridged as plastic, as seen with Togepi falling on his face.
Some specific animation I did includes (in order of appearance):
-Kaneda shaking his fist
-Kaneda addressing Professor X
-Ork/motorcycle nearly swerving into Professor X
-Pokemon: Togepi, Blubasaur, and Psyduck
-Professor X chasing Ork and summoning Narwhal
-Kaneda waving and wheelchair
Got a lot of laughs and had a lot of fun making this. =)
-Kaneda shaking his fist
-Kaneda addressing Professor X
-Ork/motorcycle nearly swerving into Professor X
-Pokemon: Togepi, Blubasaur, and Psyduck
-Professor X chasing Ork and summoning Narwhal
-Kaneda waving and wheelchair
Got a lot of laughs and had a lot of fun making this. =)
Ambitious, especially given the limitations of the characters, but mostly successful. Nice job.
ReplyDeleteBelievability & Accuracy: 9 of 12 points
Creativity: 8 of 8 points
JSG Honorable Mention bonus: 5 points
Total: 22 of 20 points