Narrative - Storyboards

Character - Initial Clown Art and Balloon Comparison Ideas

Maya - In Class Animation - Initial Poses Playblast

 

A quick playblast of the poses I have constructed in Maya. They have been made linear and the spacing of frames is a bit vast. I will be looking to clean up in certain places and give weight to certain frames. 

Narrative - Man Vs Machine - My Written Screenplay

Okay so this is my initial attempt of writing a ScreenPlay for our Animation. Im trying to incorporate the sounds and lighting we wish to achieve into the writing and I hope to give the impression the Man the Animation is comfortable to increasingly paranoid.

Any criticism is appreciated and I do apologise if its presented in the incorrect format, it is my first time doing this sort of writing. 

-- Rhys

'UNTITLED ANIMATION'

Screenplay written by Rhys Wadmore

Version # 01

Sound Fade In:

Ext. Quiet Street - Night

Through the ambient sounds of a SLEEPING CITY, we hear feet shuffling coming closer and closer toward us. A smashing of GLASS, car door OPENS and Brushing sounds just before it SLAMS abruptly, fidgeting as someone attempts to spark two wires. Sound of an ENGINE stirring with excitement and a STEADY ACCELERATION.

Fade In:

Ext. Bumper Shot Pan

The Lights of a vehicle are shone out into the camera and the front bumper and grill of a car is seen, the car is travelling at an average speed and the sound of the engine is PURRS along with the camera as it pans up to the BONNET.

Int. Car -Low Angle Shot

An obscured man is seen behind the wheel of an attractive automobile, driving, watching the road ahead while exploring the confines of the interior space with his other hand. He searches his upper jacket pocket and reveals a SMALL BOX.

Int. Car - Rear View Mirror Shot

The SMALL BOX is bought closer to the man's mouth, opened with his free hand and a single CIGARETTE is taken out and placed into his mouth. The man leans forward and a short CLICK is heard.

Int. Car - Inside Glove Box

The GLOVE BOX is opened by the man and he reaches for a handful of random cassette tapes and retracts his arm and places the tapes onto the SEAT beside him and closes the GLOVE BOX.

Int. Car - Low Angle Shot

The man multi-tasks driving and looking down onto the SEAT beside him browsing through the tapes with one hand, the name of the tape he chooses is seen briefly on the back--

Tape is inserted and a WHIRRING sound is made.

Int. Car - Rear View Mirror Shot

The man leans forward slightly as a CLICKING sound is made as a spark ignites beneath his lips and the CIGARETTE is lit, a deep INHALE ---

and EXHALE as the music from the Cassette plays quitely builds.

Ext. Car - Driver Side Rig Cam Shot

The man extends his left hand outside the window resting on the side of the car as the sound of the music fills the air and smoke puffs out the side. The sound of a PASSING cars and light appear to the sides of the car.

Dissolves Out with the PASSING LIGHT:

Ext. Car - Driver Side - Front Wheel Rig Shot

Lights a reflected by the BODYWORK of the car, (Insert Saul Bass Colour Palette). The Sound of the wheel ROLLING against the Tarmac as the car begins to come to a crawl.

Ext. Traffic lights - Shot down

A CHAIN of lights are shone down onto the bonnet and windscreen of the car as it screeches to a steady halt, Other vehicles are in view but are dull silhouettes compared to our car of focus. Except one car that is a few cars behind.

Int. Car - Dashboard Cam

The Man leans forward to get a closer view out the front windscreen and into focus comes the words SOUTH BEACH and UPPER EST written backwards as part of a reflection. The man looks left and right making a decision and before the Traffic lights change a REPEATED CLICK is heard.

Ext. Street Sign - High Angle Shot

A CIGARETTE is flicked past the words SOUTH BEACH, Camera focuses and as the acceleration of the car builds to speed, we refocus onto the car journeying towards a NEON LIT landscape. The SOUNDS of the car begin to die down the further away it travels. Another Car follows slowly in the same direction.

Int. Car - Low Angle

Man reopens SMALL BOX to see its there is one CIGARETTE left, places it inside his mouth deep sigh as he throws the empty box toward the SEAT next to the camera. A slight CHINK is heard, Man ignites new CIGARETTE--

Focuses in on CIGARETTE light

Man inhales and exhales smoke once more--

Ext. South Beach Sidewalk - High Angle - Static Shot

New music pours into the scene from the establishments littering the area --
The car pulls over slowly in front of brilliant NEON lights, stops centre frame and the man applies the HANDBRAKE. Man sticks out his head slightly to observe the area. The sound of a second car

Int. Car - Rear View Mirror Shot

The man readies himself to disembark the vehicle, turns OFF the ENGINE the focus of the camera zooming slowly through the back window of the car showing the audience the second car thats pulled up a little way behind the car.

Ext. Car - Wing Mirror Shot

The man opens his door slowly and takes his time getting out, the door of the car that follows the man also opens in sync. The door the camera is on pauses to open fully, so does the door of the car that follows. SOUNDS INTENSIFY

Int. Car - Rear View Mirror Zoomed Shot

The camera fully centred throw the back window of the car the man SLAMS the door and shifts back into the seat, staring into the rear view mirror. Lights fill the side of the shot focusing in on the two men sitting in the car waiting-- SOUNDS AND LIGHT INTENSIFY

Man looks back slowly, then sharply forward

Int. Car - Low Angle

The man still staring at the Rear View Mirror struggles to reach the seatbelt over his right shoulder, and slowly CLICKS into position. The man places the key into the ignition slowly--

Distorted sound floods the scene and becomes uncomfortable

Ext. Car - Back of car panning down

The man turns the key in the ignition and the engine ROARS into life, Lights turn back ON, the car SCREECHES its tyres and kicks up smoke, Handbrake DISENGAGES, car shunts backwards because of TORQUE and the car speeds off through the smoke it creates.

Int. Numerous Abstract Shots.

-- Cameras detail the inside of the car while the man is speeding away, Focuses on the GEAR STICK when he's shifting up, in key with the ACCELERATOR and CLUTCH. SPEEDOMETER increases and so does the aggression of the vehicle. Wheels screeching as he sharply turns left and right, Objects shift to show the direction of gravity.

Ext. Slow Zoom From Front Bumper To Mans Face

The camera pans up from the Bumper to show the audience this build up of smoke the car has kicked up, the distorted and unclear lights, the sounds of passing vehicles and the progression of sound the car is making. --
Camera reaches mans face and continues to zoom in

Ext. Parallel Follow Camera Shot

Audience is shown the car leaving the clouds of confusion that had been left in its wake. Sounds are left behind the car as the car speeds away from the distortion.

Int. Over The Shoulder Shot

Focuses over the mans shoulder to the -- THANK YOU FOR VISITING -- sign shown on the RIGHT hand side of the road, the man follows sign passing him and looks through the back window, as a red light is shown ahead of the man and fastly approaches.

Fade to Black --

Sounds of the man applying the BRAKES to the vehicle and spinning out of control, GRUNTS, Sounds of CLANGING bodywork and SMASHING glass. Car hurtles out of control and sound goes quiet

Fade in --

Ext. Slow Zoom From Side Of Car

The camera slowly zooms through the kicked up dust and smoke the car has created due to a horrific collision, A Single BRIGHT LIGHT shines through the smoke. A rim rolls toward the camera and spins as it comes to a halt. The car is overturned and the man is left mangled in the crash, lying to the ceiling of the car--
Camera enters car

Sound of FLAMES igniting and a distant sound of sirens glowing ever closer in the air, a very faint red and blue light gradually builds in the smashed window.

Cut To Black.

Narrative - Archetypes - The Hobbit An Unexpected Journey

Fig 1 - Theatrical Release Poster Segment

The first of a trilogy of films that follow the adventures of Bilbo Baggins, The Hobbit - An Unexpected Journey 2012, (Fig1) directed by Peter Jackson is a adaptation of the novel written by the legendary J.R.R.Tolkien.  It is followed by The Desolation of Smaug (2013) and The Battle of the Five Armies (2014), and together they act as a prequel to Jackson's The Lord of the Rings film trilogy. 

The story is set in Middle-earth sixty years before the events of The Lord of the Rings, tells the tale of Bilbo Baggins (Martin Freeman), who is convinced by the wizard Gandalf (Ian McKellen) to accompany thirteen Dwarves, led by Thorin Oakenshield (Richard Armitage), on a quest to reclaim the Lonely Mountain from the dragon Smaug. Along the journey the group are continually tested by the surrounding environments and its denizens. 

Fig 2 - Carl Yung Profile

This Film can be categorised by implementing Joseph Campbell's theorem of 'The Hero's Journey', also the production is rich with archetypes that help strengthen the overall resolve and structure to the story. 'Archetypes' was introduced as a concept by Carl Yung (Fig2), who saw there was a sort of structuralist approach to telling a selection of stories onscreen. 

Fig 3 - Bilbo Baggins

The Hero of this journey can be multiple members of the adventurers, but we shall choose Bilbo Baggins (Fig3) as the sole hero of this production. Bilbo is quite reluctant about being recruited to become a part of something he deems is a foolish quest. Usually in stories it is the hero that is taken through numerous trials in a plot and this is what Bilbo undergoes, he overcomes his fears becomes courageous and saves his companions.

In contrast to the Hero we have our shadow who would attempt to distill the team and undo their actions. For this example it would be best to refer to the white pale orc that has been commissioned to capture the dwarves and stop them from reaching Erebor. 'Azog The Defiler' is his name, throughout the story he shadows the groups movements and attempts to cut them off from their objective numerous times. Even tests the Hero and his companions along the journey.

Fig 4 - Gandalf & Radagast

The Herald of the quest would indeed be the wizarding duo of Gandalf and Radagast (Fig4), the events leading up to the prologue of dining in Bilbos house in the shire, Gandalf and Radagast have sensed evil is awakening in Middle-Earth and they have come to the conclusion with the dwarves that too long has Smaug lingered close to the realm of Mordor. The herald puts haste to the task and is almost a boon to committing to the journey.

The threshold guardian in this story is a little varied, it comes in the form of forced aid from the Elves of Rivendale. They wish for the dwarves to leave the mountain as it be and not stir the beast within. The group only manage to leave the city when Gandalf distracts the council from their departure. Another example would be the Goblins that abduct the company before they are able to meet up with Gandalf, the Goblin King is about to slaughter them and send Thorins head to Azog when the company are saved by the Herald.

Deception and deformity fuel the next example of the trickster, beneath the Goblin mines near an underwater lake  is where the hero meets Gollum for the first time. The hero is tested with riddles and deceit, a challenge is presented and visually the scene is created as a pinch of humour to the audience.

Fig 5 - Thorin Oakenshield

For flexibility and diversity for archetypes in this production we can defer from using the Herald as the mentor also and instead use the secondary Hero as this role instead. Thorin Oakenshield (Fig5) is the leader of the company of dwarves who are travelling to the mountain of Erebor, alongside Bilbo he is another Hero but with a significant difference. Thorin is a brave and strong warrior who sees Bilbo as weak and someone who should return home, he does this not because he dislikes Bilbo, but for a push in the right direction as for him to 'Get with the task or go home'. He and his company teach Bilbo in the art of swordplay and throughout the film guide him.

Allies put quite simply are the commission of dwarves in the production, in all there are 12 of them and also the Elves and Wizards. They aid in the Hero's quest and strengthen their odds against the impending danger the shadow presents. 

Fig 6 - Galadriel & Elrond

The Mother of the piece would have to be Lady Galadriel (Fig6), she not only guides the heroes of the production but has a major role to play in balancing the peace in Middle-Earth. She helps the Heralds come to decisions, and later in the series aids even further by becoming the 'Rescue from without' role from Joseph Campbell's theory. The Father follows quite closely to the example of Galadriel and that is Elrond (Fig6), together they both depend on one another guidance and aid to influence the decisions of the Hero and the journey they undertake. As a milestone the Elven city of Rivendale is the marker where they can get a map to Arbor's secret passage deciphered and seek aid from the Elves as rescue from the shadow that Azog poses.

Strangely the child and the hero are the same in this production, Bilbo was someone from a very peaceful and laid back environment who is torn from his world and introduced to many new experiences. We could argue that the allies and all other characters have explored the areas beyond their realms, something Bilbo hasn't accomplished.

Images

Fig 1-Theatrical Release Poster- http://www.bringthenoiseuk.com/wordpress/wp-content/uploads/The-Hobbit-640x480.jpg

Accessed on 6/10/16

Fig 2 -Carl Yung Profile- http://www.philosopher.eu/wp-content/uploads/2013/10/Carl-Jung.jpg

Accessed on 6/10/16

Fig 3 -Bilbo Baggins- http://news.images.itv.com/image/file/133499/image_update_3ed21325c1a21eba_1355319824_9j-4aaqsk.jpeg

Accessed on 6/10/16

Fig 4 -Gandalf & Radagast- https://atolkienistperspective.files.wordpress.com/2013/12/gandalf-and-radagast-at-the-high-fells.jpg
Accessed on 6/10/16

Fig 5 -Thorin Oakenshield- http://s.wsj.net/public/resources/images/BN-GC341_thorin_G_20141219095006.jpg
Accessed on 6/10/16

Fig 6 -Galadriel & Elrond- https://s-media-cache-ak0.pinimg.com/236x/3d/3a/64/3d3a64c10b7c6a0e642938c181195be6.jpg
Accessed on 6/10/16

Narrative - The Hero's Journey - Man Of Steel

Man of Steel is a 2013 superhero film featuring the DC Comics character Superman. Directed by Zack Snyderand written by David S. Goyer, the film stars Henry Cavill, Amy Adams, Michael Shannon, Kevin Costner, Diane Lane, Laurence Fishburne, Antje Traue, Ayelet Zurer, Christopher Meloni, and Russell Crowe. Man of Steel is a reboot of the Superman film series that retells the character's origin story. In the film, Clark Kent learns that he is a superpowered alien from the planet Krypton and assumes the role of mankind's protector as Superman, but finds himself having to prevent General Zod from destroying humanity.

The purpose of this investigation is to decipher key elements that run throughout the film, we will be looking through the lens that is known as 'The Hero's Journey', a concept that was developed by Joseph Campbell. A structure that is to be believed to run at the core of most modern age films, and heavily influence story decisions the screen writer may have included in the script.

Also please note that the films structure is non-linear to this particular criteria, but the investigation will be running in the order of the diagram supplied beneath this text. 

The Call to Adventure would be when Jor-El sends Kal-El to earth with the codex in the hopes of preserving the Kryptonian genome. This is the initial bump that sends the story along, if baby Kal-El never was sent from the protection of his parents into the void of space then there wouldn't be a adventure for us to observe.

The Refusal of the Call would be Clarks inability to fit into society, he recognises he is very different to the people around him. This takes place throughout a portion of the film but runs from his early childhood until the point he is standing within the ancient kryptonian craft.

The Supernatural Aid would be when the key for Kal-El's pod that unlocks a projection of his father's consciousness. Until this point Kal-El has struggled making moral decisions and relied solely on the support of his human parents. It is only when presented with his true heritage and the ascended status it brings that we recognise the vessel in-front of him is wise and here to guide him.

Crossing The Threshold would also be when Kal-El meets his father Jor-El, and steps outside the ship knowing his true self. Until this point he was uncertain of where he came from and what he is here to accomplish. The experimentation of flight for the first time is the films way of showing that Superman is beginning to embrace his true self for the first time.

The Belly of the Whale is also when Clark exhibits powers and needs to control them and hide them from the world around him. This can be shown at multiple parts of the film where there is tension created by his presence and how humans can't seem to comprehend that a being like Superman can exist.

The Road of Trials can be when Superman steps willingly onto the kryptonian ship and is later probed of information regarding the codex. He is conjoined with the mind of Zod for a brief period of time and is tempted with the idea of rejoining the crusade that Zod has chosen to undertake in light of Kryptons destruction.

Meeting the Goddess is when we meet Lois Lane,  she advises Clark on who he should become. Her guidance also falls into teachings already given to Clark by his human father Jonathan Kent. Superman will willingly do anything to protect the Goddess from any impending dangers.

Woman as Temptress again would be meeting Lois Lane, she helps Kal-El ground himself to humanity. You could also say his Earth mother is also a temptress, because he looks up to both of them and seeks to protect them.

Atonement with Father is the meeting Jor-El's projection and learning of his inheritance. And also you can consider Jonathan Kent telling Clark he isn't of this world as a revelation given to atone for keeping Clark in the dark about his true self.

Apotheosis (God Like Status): The onlookers to the fight between Superman and Zod over the streets of Metropolis. They cannot participate in the fight because they aren't even close to the same level as the Krytonians. 

The Ultimate Boon is the 'Saving of Humanity'

The Refusal Of Return is Zod wanting the Codex to revive the Kryptonians, and Superman refuses the return to the Kryptonians way of thinking. The return being here that Superman has the chance to relinquish the Codex and further the Kryptonian line. Saving his race, something that his father Jor-El entrusted him with.

The Magic Flight is when Superman makes the decision to stand against the Kryptonians and to protect humanity from annihilation. He flies from Zod's flag ship and zooms off to save Lois.

Rescue from Without is Just before Perry White and Co. are crushed by gravitational forces, Superman destroys the anchor to the world engine in the Indian sea. It can also be the point where Lois's escape pod is breaking apart on re-entry into earths atmosphere.

Crossing the Return Threshold, is when Zod is the last threat and Superman must defeat and later dispatch his foe, he needs to do this for the world to become peaceful from the alien threat that Zod poses. Its his last task to do as Superman at this point, One last trial.

Master of Two Worlds when Clark becomes a reporter at the Daily Planet, able to stay undercover while still helping the world as Superman. Revisits his fathers grave (Jonathan Kent).

Freedom To Live is Superman taking down a surveillance drone that was trying to follow him, and explains to the government that he deserves privacy like everyone else. 

Maya- Pipeline 3 - 2D Character Rigging

Part 1: Modeling

Part 2 : Texture Projection

Part 3 : Texturing Part 1

Part 4 : Texturing Part 2

Part 5 : Construction

Part 6 : Skeleton

Part 7 : Skinning

Maya: In Class Animation - Poses Part 2