3/4 View
Front View
Back View
Side View
Thursday, 28 February 2019
PIPELINE: BODY MODELLING- HANDS & THE FINAL MODEL
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| Finished Hand |
Top View
Side View
Front View
Side View
Top View
3/4 View
Back View
Tuesday, 26 February 2019
Premise Character Development
These are some potential character designs as well as body types. I think 1 and 6 would work best as the protagonist. I plan on doing some designs for the other pigeons that look down on the protagonist.
Monday, 25 February 2019
Final Infographic
This is my submission for the infographic project, I'm quite happy with the outcome. I animated everything using After Effects and then edited it in Premier Pro.
Wednesday, 20 February 2019
Premise Research
These are bits of research I've done around my idea, I need to do more but for now this is what I got. Some of this I think is good for further making this idea authentic. I think things like the Dikin Medal would be good to add to the end of the story, as well as small but important details such as the coops having a wire t o inform soldiers of a new pigeon arriving.
- Carrier Pigeons were often used in both world wars because radios weren't as reliable
- 32 pigeons received the Dikin Medal - "For Gallantry" and "We also Serve". A medal given to honor animals in WWII
- Breed: Homing pigeon and Racing Homer
- When the pigeons landed, wires in the coop would sound a bell or buzzer
- Nearby enemy soldiers often tried to shoot down pigeons aware of their use
- Tanks were also know for using pigeons, having a hole on the side big enough to release
- Potential other stories: Story of "Cher Ami" who with a missing foot and one eye saved 194 surrounded Americans
@Phil @Alan Premise Script Draft
This is my first draft of my script, for my idea around a carrier pigeon during WW1.
Starts with establishing shot of trenches, then slowly starts to zoom in to one of the trenches. Cross fades to pigeons lined up, backs straight looking dead ahead.
Camera pans across the pigeons, until there’s a gap in the line, camera drops to reveal a small pigeon standing proud. The other pigeons look down at the small bird menacingly, the small pigeon ignores them and continues to stand proud. The other pigeons all make their way to get ready for their mission. The small pigeon goes to follow but one of the humans picks him up saying
SOLDIER
“Not you little fella, you can stay in your pigeon hold for now”
Slightly disheartened the pigeon sits in his pigeon hole and waits. Shot of all the other pigeon holes next to the small pigeon, one by one each of the pigeon holes has a cross drawn under their “active status”. Soon enough all the other pigeons were gone, except the small one. A Soldier grabs the small bird getting him ready for his mission. It was his time, his turn to prove himself. The Soldier attaches the note to the back of the pigeon saying
SOLDIER
“Okay little fella this message is crucial in getting us reinforcements, good luck!”
The soldier throws the pigeon into the air, the pigeon spreads its wings and looks majestic. Cut to the pigeon falling out the air trying to flap its small wings frantically. It looks like he’s going to hit the ground before quickly gathering the strength he needs to finally start flying.
Finally he’s done it he’s in the air! Excited he flies onward to his destination. In the air he can see the carnage of the war. Being in the trenches shielded him from the horrors of No Man's Land, suddenly he’s overcome with fear and starts thinking of all the other pigeons who didn’t make it. All those other pigeons who were bigger and stronger than him...who are no longer here. However, the soldiers words come into his head, his mission isn’t just for fun there are soldiers in need and their relying on this message being delivered. The small pigeon composes himself and gains a new found confidence.
He ventures onward, each flap of his wings filled with determination. The other trench is in sight, he’s close. Suddenly a sniper bullet whizzes past the small pigeon. Lucky his small stature makes him a harder target. More bullets fly at him, but with his new found confidence he flies straight in. Evading bullets like they were nothing he arrives safely into ally territory. Flying into the pigeon hole a soldier rushes over to receive the message. Cut to low shot of soldiers feet stomping making their way as reinforcements. Another cut to the small pigeon receiving a medal way too big for him, but nonetheless he is proud.
Monday, 18 February 2019
Tuesday, 12 February 2019
@Phil @Alan Premise Ideas Development
After my tutorial today I have realised that the ideas that I am putting forward lack any theme or concept which I need to change in order to think of more fleshed out ideas. Having talked with both Phil and Alan, I need to both think of ideas that have a clear theme or concept as well as looking into existing issues or information that I can use as a framework for my premise. Alan recommended Ripley's believe it or not, which are interesting facts and articles. I have looked at some articles and found some I would be interested in developing:
1) Abandoned Shark found in defunct Wildlife Park - I saw this and I thought of possibly making this a story. It would begin with the wildlife park when it was in its prime but eventually the animals from the park start to be moved because it closed down. Abandoned "Rosie" is now all alone in her tank. She spends her days swimming alone hoping someone will return. One day a man enters the wildlife park exploring and finds Rosie, he then helps to get transported to a more suitable location. Although in the article Rosie is a preserved dead shark, I feel like this can still work with her being a living shark.
2) A Bone Trumpet made for calling Demons - Since one of the suggests Phil and Alan made was an infographic type animation, I found this and thought that it would be interesting. I imagined a Horrible History style of presenting the information, using humour and interesting character design.
3) War Pigeons and Their Stories - Again like the shark article I imagine this one being told as a story rather than an infographic, but they work both ways. This would start with the pigeon being "breifed" on its mission and being told the value of the information it is carrying. The pigeon the "suits up" and heads out for its mission. We would see the sorts of conditions that it has to deal with such as weather conditions and then in the final act being faced with a do or die situation in order to deliver information that can save thousands. I like to imagine this in a sort of Disney way where the pigeons have their own world that they communicate and represent archetypes associated with war films that is separate from "reality" where when humans come into contact with them they're just normal pigeons. This may be a bit hard to understand but hopefully it makes some sense.
4) 512 year old Shark found in North Atlantic - This one would be an infographic type animation from the sharks perspective, explaining the facts and how it has survived so long.
Premise new ideas
Based on my tutorial from last week Alan suggested that if I couldn’t find more research to support my hallucination idea it would be a good idea to have some ideas ready just in case. I’ve struggled to think of more but here are the few I was interested in doing:
1) There’s someone who breaks out of a private facility, the reason is unknown. They wonder home to find that their family is being interrogated by guards from the facility. They sneak away trying not to alert the guards. They have to hide in different places around the city (here I wanted to try and characterise each location in a way that increases tension) Eventually, they get surrounded by the guards. I haven’t figured out the ending but I will hopefully during my tutorial.
2) There’s a lone bounty hunter and he's in a bar. Meets a woman who he talks to and then she disappeared into the night. Next evening when he's out hunting, he finds his target. He's nearly got her and it's revealed it's the woman from the other night. It now becomes a sort of chase tango (maybe a small fight scene)
3) A young boy’s grandfather passes away, when the boy goes with his mother to clear his grandfathers house out, he finds a huge box. In the box is a clay being, the boy finds a golem and tried to figure out why his grandfather has one while also trying hiding the huge clay man from his mother.
Hopefully I can think of some more ideas so that I have other options to fall back on.
Saturday, 9 February 2019
Film Review: Les Triplettes de Belleville (France)
(Fig 1, Movie Poster)
'Les Triplettes de Belleville' (2003) directed by Sylvain Chomet, follows an elderly french woman, Madame Souza, as raises her grandson who she is constantly trying to cheer up since he mopes around due to his parents seemingly passed away. One day Madame Souza buys her grandson a bike and from then on he continues to ride and takes part in the Tour de France. However, during the race Madame Souza's grandson is kidnapped, accompanied by faithful dog, Bruno and aided by the three sisters 'the triplets of Belleville'.
(Fig 2, Movie Still)
The film's core premise essentially comes down to it begin a rescue, adventure, comedy. The film has barely if not no dialogue, so it is up to the viewer to pay attention otherwise things can get confusing. The film gives off a vibe that it is playful and joyful despite what goes on. You can see this from the character design to the animation. This film is definitely unique and a breath of fresh air for some people. French says " It is a pleasant change from, or antidote to, the current wave of bland, airbrushed, computer-generated animated movies from the States" (French, 2003)
(Fig 3, Movie Still)
The animation in the film starts off different from the rest of the film. It starts out using rubber hose to set the time period as well as showing Hollywood at the time. It included people such as Django Reinhardt playing jazz guitar and Josephine Baker performing a "topless shimmy" (French, 2003) However, shortly after starting the film the camera pans out and what we had seen up until that point was only a television broadcast and this is when we see the real art style and animation of the film. Chomet is known for his comic-strips and throughout the film you can clearly see a hand style to it especially in the buildings .
(Fig 4, Movie Still)
Character design in the film plays a big part, there is a range of people with different shapes and sizes. Some characters personify animals such as the cyclists in the Tour de France representing horses and the engineer looking like a mouse. Other examples are when Madame Souza reaches America and the other being the club scene when a waiter is literally bending over backwards to please the gangster. All the characters in the film feel so unique and slightly unsettling, as further empahaised by Ebert "The movie's drawing style is haunting in a comic way" (Ebert, 2003)
(Fig 5, Movie Still)
The whole film gives off a stereotypical french feel and uses this to its advantage by showing us a french perspective on things. For example, the way America is represented, "Les Triplettes de Belleville is filled with clichés reflecting a French perspective. One such cliché is that Americans are obese." (Linsenmaier, 2006) In this scene you see exaggerated obese parents and children. There is also the most obvious part which is the Tour de France scene, where we cut from the race to reactions of french civilians, "The cycling and Tour de France related sequences are peak periods of the filmic time spent poking fun at typical aspects of the French working class." (Linsenmaier, 2006). However, there are aspects of the film that are not so obvious to non-french viewers. What at first seemed to be a strange way of showing that time had passed, turns out to be real. As France develops we see a bridge built next to Madame Souza's house which leads to it tilting. "The high bridge that pushes Mme Souza's house into a tilt is typical of railway constructions in France during the first half of the 20th century." (Linsenmaier, 2006).
Illustration:
Fig 1, Movie Poster: https://livre.fnac.com/a1572923/Amelie-Sarn-Cantin-Les-triplettes-de-Belleville
Fig 2, Movie Still: http://www.auditorium-lyon.com/Programmation-17-18/Cine-concerts/Jazz/Les-Triplettes-de-Belleville
Fig 3, Movie Still: https://www.cartoonbrew.com/feature-film/the-triplets-of-belleville-15th-anniversary-7-insights-into-the-making-of-a-contemporary-classic-159630.html
Fig 4, Movie Still: https://www.youtube.com/watch?v=L4CVtL0fuBM
Fig5, MOvie Stil: https://www.pinterest.co.uk/pin/240379698837714895/?lp=true
Bibliography:
Ebert, R. (2003). The Triplets of Belleville Movie Review (2003) | Roger Ebert. [online] Rogerebert.com. Available at: https://www.rogerebert.com/reviews/the-triplets-of-belleville-2003 [Accessed 9 Feb. 2019].
French, P. (2003). Wacky races | Reviews | guardian.co.uk Film. [online] Theguardian.com. Available at: https://www.theguardian.com/film/News_Story/Critic_Review/Observer_review/0,,1032657,00.html [Accessed 9 Feb. 2019].
Linsenmaier, T. (2006). Pierre Floquet – What is (not) so French in Les Triplettes de Belleville | Animation Studies. [online] Journal.animationstudies.org. Available at: https://journal.animationstudies.org/pierre-floquet-what-is-not-so-french-in-les-triplettes-de-belleville/ [Accessed 9 Feb. 2019].
Film Review: Waltz with Bashir (Israel)
(Fig 1, Movie Poster)
'Waltz with Bashir' (2008) is an autobiographical film written, directed and starring Ari Folman. The film is not necessarily about Folman's experiences alone but those who were also involved in the 1982 Lebanon war. Folman witnessed the Sabra and Shatila massacre, however has no memory of the event. He then is determined to find out what happens and visits old friends and those who may have known him.
(Fig 2, Movie Still)
"Ari Folman's beautiful and horrifying account of the first Lebanon War of 1982 as experienced by his younger self... a particular memory Folman believed he had lost but was actually lying in wait" ( Quinn, 2008) Folman was 19 years old during the war, in the film it seems that he doesn't have amnesia but has repressed his memories. This film acts as a journey for Folman, but at the same time promoting anti-war and showing the impact of war. This film despite its message and meaning was banned in Lebanon, however this hasn't stopped people from viewing it. In 2009, Monika Borgmann had a private screening of the film, "People were really touched by the movie," said Borgmann, "I think it's important to see this film. The massacre of Sabra and Shatila is a common history for Lebanon, the Palestinians and Israelis." (Child, 2009)
(Fig 3, Movie Still)
This film tackles a topic that is not an easy one to talk about let alone make a film about. The whole film is made using 2D animation, "Flash is a well-known tool but doesn’t usually come to mind as a way to animate an entire feature film. But that’s what director Ari Folman did, constrained by a tiny budget but certain that animation was the only way to tell his story." (Kaufman, 2008) When talking about topics such as war it can be difficult to watch, especially when there is graphic imagery. The use of animation allows Folman to tell his story the way he wants without as many limitations as live action. For example, when Folman visits one of his old friend's, they describe their hallucination which seems more suited to animation because as mentioned they wouldn't be as limited. Ebert reiterates this point, "The freedom of animation allows him to visualize what they tell him -- even their nightmares." (Ebert, 2009)
(Fig 4, Movie still)
Although, Folman used animation that allowed him to tell his graphic story, the ending is surprising to say the least. The audience goes from Folman's vision being completely animated to quickly cutting to real footage of the massacre. The animation acts as a layer from the full picture, at the end Folman pulls this away and reveals the whole truth. Animation made telling this story more palatable for audiences, however this is meant to show what really happened without disrespecting those who lost their lives. "Finally, the film puts him right at the scene of the crime, and there is a bold shift from animation to TV news footage." (Bradshaw, 2008)
Illustration List:
Fig 1, Movie Poster: https://www.imdb.com/title/tt1185616/
Fig 2, Movie Still: https://thefilmstage.com/news/explore-the-ethics-of-waltz-with-bashir-in-a-new-video-essay/
Fig 3, Movie Still: http://www.lagosfilmsociety.org/2017/09/19/history-memory-and-identity-ari-folmans-waltz-with-bashir/
Fig 4, Movie Still: https://www.youtube.com/watch?v=lgmjH1XbqXM
Bradshaw, P. (2008). Film review: Waltz With Bashir. [online] the Guardian. Available at: https://www.theguardian.com/film/2008/nov/21/waltz-with-bashir-folman [Accessed 31 Jan. 2019].
Child, B. (2009). Waltz With Bashir shown in Beirut. [online] the Guardian. Available at: https://www.theguardian.com/film/2009/jan/27/waltz-with-bashir-beirut [Accessed 3 Feb. 2019].
Ebert, R. (2009). Waltz with Bashir Movie Review (2009) | Roger Ebert. [online] Rogerebert.com. Available at: https://www.rogerebert.com/reviews/waltz-with-bashir-2009 [Accessed 31 Jan. 2019].
Kaufman, D. (2008). How They Did It: Waltz With Bashir - Studio Daily. [online] Studio Daily. Available at: http://www.studiodaily.com/2008/12/how-they-did-it-waltz-with-bashir/ [Accessed 3 Feb. 2019].
Quinn, A. (2008). Waltz With Bashir (18). [online] The Independent. Available at: https://www.independent.co.uk/arts-entertainment/films/reviews/waltz-with-bashir-18-1027847.html [Accessed 3 Feb. 2019].
Film Review: Ponyo (Japan)
(Fig 1: Movie Poster)
'Ponyo' (2008) Directed by Hayao Miyazaki, is a story that follows a young goldfish in her journey to become a human. A small goldfish goes to explore the surface world without permission from her father. There she meets a young boy named Sosuke, who saves the goldfish from being trapped in a jar. Sosuke names the goldfish Ponyo, but her father finds her and returns her home. After experiencing life with Sosuke her love over comes her father and she is forced to make a choice.
(Fig 2, Movie Still)
In this film there are references to Japanese culture which maybe hard for western audiences to pick up on, however some are very easy to see. For example, Ponyo maybe a reference to Japanese myth 'Ningyo' this is a mermaid like creature, however there is no known tale of one of these mermaids turning into a human nor having the ability to do so. One of the easier references if you have seen a Studio Ghibli film before would to Miyazaki's previous films such as Hawls moving castle, more, this is commonly seen in the character design. This one is common knowledge no matter the culture, but plays a big role in the film, respecting elders. In the film quite a lot of it is around the nursing home that Sosuke's mother works at. As mentioned in most cultures the elderly will be held in high regard, however based on the context of this film (it being Japanese) it is a common theme in some anime to show appreciation for your elders, through their tradition, wisdom and respect.
(Fig 3, Movie Still)
This film undoubtedly takes some influence from Disney's 'The Little Mermaid'. In the past Miyazaki has been compared to Walt Disney, however Miyazaki isn't too fond of this and made sure not to see the little mermaid while making Ponyo, "I watched the video of Little Mermaid many years ago when I was first given it, but I haven't watched it recently," Miyazaki said. "On purpose I did not watch it in my making this film." However, despite this both of the films have similarities. The main character in both films are young, redheaded ocean dwelling princesses who both wish to become human so that they can stay with the person they love, both being from the surface. However, with Ponyo she is only a small child and Sosuke is 5 years old, for a film to have such serious questions as "Do you love this person?" and also handling it with a level of maturity is nice to see and is presented in a sweet way. Miyazaki was fully aware of the similarities between Ponyo and The Little Mermaid, "he would go no farther toward Disneyfication than to give the waves faces like dolphins (and even that, he noted in an interview, he feared might be too much [Ponyo, Special Features])." (Ross, 2014)
(Fig 4, Movie Still)
The film is all done using 2D hand drawn animation, this isn't uncommon for a Studio Ghibli film. The use of animation is fantastic in this film and adds a certain level of wonder to the environment shots, such as the opening. This can be applied to the rest of the film too, Ponyo for example switches between her goldfish form, half fish half human and then full human form. These transformations may lose what makes them special if they were done using CGI, the decision to keep it all 2D is a smart one. Miyazaki himself had this to say about the animation, "He insisted he still uses a pencil to draw his animated characters and backgrounds: “Currently computer graphics are used a great deal,” he noted, “but it can be excessive. I think [animation] needs the pencil, needs man’s hands drawing." Nowadays hand drawn animation is a craft that is dying out more and more as CG progresses, but with Studio Ghibli you can always grantee that you're in for some traditional animation which will amaze audiences. Bradshaw sums it up well, "The distinctive, hand-drawn animations may be a tougher sell to children or, indeed, adults who have got used to glitzier digital work and snappier scripts, but I think he will always have a place in the heart of everyone who appreciates his distinctive allure." (Bradshaw, 2010)
Illustration List:
Fig 1, Movie Poster: https://www.amazon.com/Ponyo-Cate-Blanchett/dp/B073ZYKJG9
Fig 2, Movie Still: https://www.pinterest.co.uk/pin/482518547562630405/?lp=true
Fig 3, Movie Still: http://www.fanpop.com/clubs/ponyo-on-the-cliff-by-the-sea/images/30547690/title/ponyo-screencap-photo
Fig 4, Movie Still: https://geektyrant.com/news/hayao-miyazaki-film-food-part-five-ponyo
Bibliography:
Bradshaw, P. (2019). Film review: Ponyo. [online] the Guardian. Available at: https://www.theguardian.com/film/2010/feb/11/ponyo-film-review [Accessed 29 Jan. 2019].
Gritten, D. (2009). Hayao Miyazaki: drawn to perfection. [online] Telegraph.co.uk. Available at: https://www.telegraph.co.uk/culture/film/6911264/Hayao-Miyazaki-drawn-to-perfection.html [Accessed 30 Jan. 2019].
Ross, D. (2014). Miyazaki's Little Mermaid: A Goldfish Out of Water. Journal of Film and Video, 66(3), p.1.
Film Review: Mary and Max (Australia)
'Mary and Max' (2009) is an Australian animated film directed by Adam Elliot. The film revolves around Mary, an 8 year girl from Australia who is bullied because of her birth mark and in turn is very lonely and Max a 44 year old man from New York that is obese and has Asperger's Syndrome, which makes him anxious around people partially resulting in his loneliness.
(Fig 1: Movie Poster)
The film talks about lots of different themes and through the use of animation it makes it more palatable for audiences. For example, Mary's mothers alcoholism is presented in a slightly comedic way because it is being described by a naive 8 year old. Other themes range from suicide to Asperger's syndrome and the view people had on it at the time (70s-80s) The over arching theme of the whole film is Friendship, over the course of 20 years these two strangers become each others best friends and can understand one another loneliness and the effects of bullying. As previously mentioned if some of these themes were explored through the use of live action it would be a lot more difficult film to watch, but Claymation allows expressive animation as well as easier to watch without losing the impact of certain themes.
(Fig 2: Movie Still)
The film is made using Claymation allowing for Elliot to explore his ideas more openly, however this type of animation doesn't come without a price, it is painstakingly long and labour intensive especially on a film such as this. Elliot had this to say about the animation process " We could only afford six animators so the pressure was on for each of them to produce an average of five seconds per day" (Desowitz, 2009) Baring this in mind it makes this film all the more impressive and an achievement. The lack of a big budget means this film had no room for re shot's and had to nail it first time.
(Fig 3, Movie Still)
Despite the animation acting as a way for audiences to enjoy the film without the themes of the film getting too much for the audience. However, this should not detract from story that Elliot wants to tell. Elliot had this to say " I try to make films with depth, substance; films that deeply engage, move and make the audience think." (Desowitz, 2009) This film indeed is an impactful one and you can really feel the depth of the film from this long friendship. We experience the growth of this friendship which spans over 20 years within one and a half hours. Overall, this film explores some deep themes, demonstrates great Claymation and is a film with worth watching again.
Bibliography:
Desowitz (2009): https://www.awn.com/animationworld/mary-and-max-elliot-and-clayography
Illustration List:
Fig 1, Movie Poster: https://vulpeslibris.wordpress.com/2013/02/13/mary-and-max-a-film-by-adam-elliott/
Fig 2, Movie Still: https://driveinzeppelin.com/mary-and-max/
Fig 3, Movie Still: http://wallpapers.ae/mary-and-max-image.html
Thursday, 7 February 2019
Infographics Progress
Last week Alan wanted me to simplify my drawings so I did with these 5. Alan said that some still need to be simplified down more so I will go back and make edits to some of these drawings. However, for now these are the updated drawings.
Wednesday, 6 February 2019
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After some talks, I was advised to step away from my sketch book and try using a different medium on a bigger scale. I then got... -
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