A key part of my film is the secondary environment of the inground ‘grave yard’ which involved a lot of skeletal mesh. I initially had a lot of considerations to go through when starting this environment, as my first idea was to create the world as a separate Maya scene which I would model and cut to in post-production. However, I found that this process would prove very difficult in selling an effective pan-down shot, and decided to model this environment directly below my stage so that they are part of the same scene file.
For this final shot, The lighting set-up proved to be much simpler than the former, as there only really needed to be two lights to convey visually what I wanted the audience to see. Using a primary, frontal key light with the same intensity as one of the stage settings, and a stronger focused spotlight on the hand, allow for a dark and eerie setting with only one focal point.
Previs
As stated in the book 3D Animation Essentials, “Pre-visualization is a technique used in film and television that utilizes 3D animation to plan the pacing, cuts, and camera angles of a sequence. ” ( Beane, 2012, pp. 114). This step is essential as part of the 3D animation pipeline, as in a typical production it will save a lot of time and money planning out the entire movie without the extended quality and effort. This planning felt particularly useful for my film, not necessarily in the different camera angles due to its flatter, less dynamic camera action, but in planning the timing and spacing of the dance movements for my characters to the sound and music.
Beane also stressed that the pre-vis stage of production is also a key time to understand where you are directing the audience’s eye, and Instead of using camera angles, I have used lights to pinpoint very clearly where the audience should be focusing (2012).
During the process of creating this pre-visualization, I came across several issues which will need addressing in order to fix the finalised look of the film. The main issues I wish to address as the scaling and staging issues, as the skeletons appear much too large on the stage, to the point where several of their movements are hidden behind the curtain. In the next week, I will ensure that my character rig is scaleable so I can resolve this issue without having to make any drastic environmental changes.
The second key issue I wish to fix is the overall look of the ‘underground’ area as I feel it looks a bit flat at present and lacks the environmental depth that will add drama and effect to the piece.
Going forward, I need to ensure my rig is finalised and functioning, making sure there are no issues regarding the parent constraints which allow detachable limbs. And the last improvement consideration will be my main source of stylistic inspiration when it comes to dancing, as I feel the motions highlighted in the previs did not have a clear enough contextual stance.
Animation Test
Looking more time contextually at dance moves heavily related and associated with the 1920s/ 1930’s contexts. Watching the video From Ballroom to Broadway (1980) I was able to gain a further and more contextual understanding of the Charlestons’ historic relationship to theatrics and the theatre, and how the two dancers move and react with each other on stage. Applying this to my characters and timing it to the music had a kind of comedic effect which I enjoyed, especially the idea of mirror image dancing between them. However, this dance has a certain level of complexity and I am not sure how or if I will be able to fluently fit this within my animated piece, especially due to the fact they are avoiding an obstacle throughout the motions.
(108) How to do the Charleston Dance 1930s – YouTube
Shot List
In order to efficiently plan my animation and rendering over the next 4 weeks, I created a shot list in which I can track and break down the different shots I need to produce and finish this 1-minute animated work. I have already made good progress with the introductory title card, and it is completed and rendered. I have also rendered the shots regarding the hamlet reference (as highlighted in previous weeks) and they are ready for editing.
For the next week, I have already started shot 3, and aim to have shots 3, 4 and 5 within the next week.
References
.Beane, A. (2012) 3D Animation Essentials. Indianapolis, Ind: J Wiley and Sons.
.From Ballroom to Broadway. (1980). Publisher: Footscray, victoria, Australia: Contemporary Arts Media.